Director

Louise Collins

<h3>Louise Collins, who has been involved in numerous music videos as a casting director, has now made the leap into directing&nbsp;a music video for British-American singer songwriter Sylvie Wiley, capturing the extraordinary skills of aerial dancer Izzy Bloomer. Promonews talked to Louise to find out how it happened.</h3>You would be forgiven for thinking that Louise Collins had enough on her plate with the busy career she has as a casting director, working on everything from feature films to major TV productions to music videos. But her close friendship with the talented young singer-songwriter Sylvie Wiley has given her the chance to scratch a creative itch and extend herself as another kind of director.The result is the just-released music video for Wiley's song Stranger In My Sheets - essentially a dance piece, but a highly unconventional one: the performer is an aerial dancer,&nbsp;Izzy Bloomer, who twists, turns and hangs in the air, moving between hanging silks - as&nbsp;if defying gravity.[vidtoken data:0]This is a marked departure for Collins, who for the past few years has been working in casting on prestigious productions in ever&nbsp;more senior&nbsp;roles. She has been part of casting teams for major productions - including HBO’s Warrior, His Dark Materials, The New Pope, and The Night Manager - and worked on leading feature films such as Rogue One: A Star Wars Story, Assassin’s Creed, and The Hitman’s Wife’s Bodyguard.&nbsp;She was recently a researcher on A24’s Pillion, directed by Harry Lighton and starring Alexander Skarsgård and Harry Melling, as well as A Prayer for the Dying, directed by Dara Van Dusen and starring John C. Reilly and Johnny Flynn.Now her first major feature film as a casting director will be released later this year:&nbsp;Christmas Karma,&nbsp;directed by Gurinder Chadha,&nbsp;starring&nbsp;Kunal Nayyar, Eva Longoria, Billy Porter and Hugh Bonneville -&nbsp;a project she co-cast alongside Jina Jay (Black Mirror, Rogue One: A Star Wars Story).&nbsp;Meanwhile her&nbsp;contribution to music video casting in the UK is extensive and impressive, she has cast for major UK and US artists including Stormzy, Burna Boy, Shy FX, Ella Eyre, Jess Glynne, Lewis Capaldi, Jorja Smith, Samm Henshaw.&nbsp;We caught up with Louise to find out how she was diverted into directing the Stranger In My Sheets&nbsp;music video. We discovered that the video for Sylvie Wiley was a long time in the making, and a very rewarding, albeit highly challenging, creative process.&nbsp;[imgtoken data:1]Above: Louise Collins (left); Izzy Bloomer (centre); Sylvie Wiley (right)PROMONEWS: Louise, your normal day job is as a casting director. How did you choose that as your career and what do you enjoy about the job?LOUISE COLLINS: It was during the making of our grad film at UAL's Film &amp; Television course, I discovered casting to be one of the most engaging aspects of filmmaking and decided to pursue it as my career. We had to cast two actors to portray a long-term married couple, a challenge I found fascinating, guiding two strangers to convincingly portray a decade of shared history in their performance.During auditions, we built trust and on-screen chemistry through mini-workshop sessions. I loved hearing the actors’ insights on the script, exploring their characters' psychology, and watching them tap into their personal acting toolkit. I enjoyed giving feedback and still do, to fine-tune scenes until they felt authentic. There’s a special magic when everything clicks and the scene comes alive in the audition room.Casting is also a chance for directors and actors to meet and explore together. As a casting director, I enjoy initiating these partnerships, hosting collaborations, and witnessing the director’s process. Directors often rely on me to help communicate their vision, especially when working with children, which makes the process even more rewarding.[imgtoken data:2]<blockquote>The dancer transformed into a visual representation of the songwriter’s intimate reflections...&nbsp;the silks became symbolic of bedsheets.</blockquote>How did this project start?&nbsp;Did you already have a connection to the artist, Sylvie Wiley?LC: Yes, I first met Sylvie when she moved from Los Angeles to London to study at Goldsmiths. I heard her sing a rendition of one of my favourite songs - Fleetwood Mac’s Dreams - at a student gig and was really moved by her voice. We became close friends and collaborated on a no-budget, DIY music video for her early song Crofton Road. Using a borrowed camera, I shot and edited it myself, filming in her student flat’s garden with her friend as her male co-lead. It turned out pretty well. During lockdown, we also co-wrote a screenplay and our first novel together. That all lead to this project.What&nbsp;is the&nbsp;song about? When did you write it and when (and where) did you record it?SYLVIE WILEY:&nbsp;Originally written when I was 19, the song began as a simple voice-and- piano piece. I wrote and sang the melody and lyrics alone in my Goldsmiths dorm, still processing a recent situationship where a guy told me I’d "catch feelings”- a comment I found patronising. The song explores that grey area of craving closeness and connection while knowing it won’t last, or come with expectations. Hearing my vocals&nbsp;my close friend Seth Evans instantly came up with the haunting piano part, which we performed in class together the next day. That original piano part became the foundation for what eventually grew into the fully produced single.I actually first released the song on SoundCloud six years ago as D7G, named after my dorm room where it was written and lived. It felt too raw and personal at the time, but I always knew I’d come back to it. In 2023, I finally did, recording the version that became Stranger In My Sheets.Sonically, the track is rooted in intimacy. I worked with mixer and producer Alice Western, who brought the vision to life and shaped its sound world with subtle precision. My husband Jonathan added acoustic and electric guitar, weaving in texture, rhythm, and flow at the start of the track, before we brought in the drums. I also drew inspiration from Leonard Cohen’s lyricism and understated musicality, which influenced some of the instrumental choices.[imgtoken data:3]Above: On the set of the Stranger In My Sheets video at My Aerial Home in London, DoP Ernest Tu (right) shoots dancer Izzy Bloomer&nbsp;&nbsp;What was the inspiration for the video’s concept?LC: When I first heard the trickle of piano keys breaking the song’s suspense, an image immediately came to mind: a lone aerial dancer tumbling through the air on white silks. As the concept evolved, the dancer transformed into a visual representation of the songwriter’s intimate reflections, spending the night with a stranger. The silks became symbolic of bedsheets, and the dancer came to embody both the songwriter and the complexity of her emotions. The black and white imagery was inspired by the black and white piano keys and the tattoo ink of her partner.Who is your performer in the video - and how did you find them?LC: The performer is Izzy Bloomer. Izzy’s a multi-talented performer and director, who trained across Europe and Australia with Antonio Fava, Eric Bont, Lecoq and Zen Zen Zo, Commedia Dell Arte mask, clown, circus, puppetry and Suzuki &amp; Butoh. Known for solo shows and drag king personas, Izzy also consults for circus companies worldwide.When I started researching aerial dancers, most of them had colourful bold, theatrical looks - heavy makeup and circus-inspired styles - which just didn’t suit the feel of this project. Izzy stood out for their understated, authentic realness. Izzy has a quiet strength, a blend of vulnerability and resilience that resonated with our film’s tone and the intimacy of the songwriting. Izzy’s aerial and acting skills captured the song’s emotional nuance, its softness, power, and rawness, mirroring Sylvie’s vocals, which move from a whisper to a powerful belt.[imgtoken data:4]<blockquote>Izzy has a quiet strength, a blend of vulnerability and resilience that resonated with our film’s tone.</blockquote>Where did you shoot the video, and who were your important collaborators?LC: We filmed the video at My Aerial Home in London with a small team of four: Sylvie, who co-created and co-produced the concept, myself as director, casting director, and editor, aerial dancer Izzy, and Ernest Tu, our DoP.I’d previously worked with Ernest on a campaign I had cast. While casting directors don't often have the opportunity to be on set, I was invited on this project to continue as the production talent manager for the ambassador talent. That experience gave me the chance to see Ernest in action and develop our working relationship. I was struck by how calm, focused, and humble he was. His experience in filming fashion also lent itself to the aesthetic of our film.How would you describe the film, in its intention and aesthetics, and your approach?LC: The films conceptual style creates a feeling of being set in a liminal space between sleep and consciousness. It explores the emotional tug-of-war between the woman’s need to protect her independence and her desire for physical connection. We flicker between romance and the threat of violence, both from the stranger’s intentions and from her own act of using the stranger as a form of self-harm.The silks, symbolic of her bedsheets, offer comfort, forming a safe cocoon at times, and a quiet form of restraint at others. They sometimes let her fall freely; other times, they leave her hanging, caught in tension. Though there are moments of surrender, she ultimately holds herself back, protecting herself, suspended, unable or unwilling to fully let go, both literally and emotionally.[imgtoken data:5]Above: Director Louise Collins on set of the Stranger In My Sheets videoTo capture the song's emotional nuance, we broke the script into intimate close-ups of Izzy’s face, hair, body, and the flowing silks, using slow motion to highlight delicate moments. Wider shots revealed Izzy’s full form and the dynamic shapes created. We also shot close-ups of ink, both tattoo ink and ink from a pen, symbolising the songwriter’s thoughts.As the track grows rockier, we replaced the silks with rope and Izzy’s white costume with black. The dancers movements thrash wildly, evoking anger, rebellion, control—a sharp contrast to the earlier grace and flow of the silks. We also shifted between a black backdrop, a white backdrop and the ceiling. These shifts gave us a dynamic range of footage to express the song’s full emotional arc.What were the big challenges you faced in capturing the aerial dancer during the shoot?LC: Our biggest challenge was having limited studio time to film due to our budget constraints. To navigate these challenges we had to focus on thorough pre-production, and we developed a detailed mood board, treatment, script, and shot list. We also held several meetings to discuss ideas, choreography and cinematography. Izzy and I&nbsp;worked out the initial stages of the choreography at this point.I had brought a range of costumes but during the fitting discovered that a minimalist approach worked best: a simple white tee for the softer scenes and a black mesh top for the darker rocky moments. The silks and rope became a continuation of the lines and motion of the dancers body like a costume in itself. The silks billowed out romantically, like a waltzing ball gown, while the rope looked almost like a whip or lasso, symbolising the couples tension and power play.[imgtoken data:6]During filming, it was crucial to give Izzy breaks to catch their breath. We balanced sticking to the schedule with embracing spontaneous freestyle dance. I outlined each shot and directed both Izzy and Ernest, while Izzy guided Ernest on safe camera positions, communicating their comfort and energy levels. The three of us worked seamlessly like a well-oiled machine.Whilst Ernest would have appreciated a gaffer, we didn’t have the luxury of a lighting team, so we used natural lighting and embraced the raw aesthetic. We found it fit perfectly with the chaotic, self-sabotaging, rocky sequences. The visible ceiling beams, shadows, and industrial edges reflected the fractured, messy architecture of the protagonist’s mind. As Ernest put it: "In the end, our limitations became our tool."What other problems did you encounter in making the video?LC: When Sylvie and I first conceptualized the film, we imagined a male character alongside her, showing close-ups of his "brown hair", "tattoo", and "blue eyes," reflecting her intimate experience in the lyrics. We also planned a transition where their bedsheet would blend into the aerial silks. But we decided to simplify the idea when we realized that adding more characters and bedroom shots took away from the dreamlike quality and the personal, lonely experience captured in Izzy’s solo performance.What did you learn from the experience of making it - and are you planning to direct more videos?LC: I learned not to overload a story with ideas. Our team discovered that problems arise and ideas evolve, so adaptability is key, while sticking to budgets and safety is non- negotiable. Respect, trust, fair pay, good food, and clear communication are key to a thriving, valued team.I’m currently developing a feature with Sylvie and open to collaborating on music videos or films with artists whose ideas resonate with my own, especially those exploring the female experience of the world.• Louise Collins is a casting director; contact Louise via her agent Gabriella Capisani at United Agents gcapisani@unitedagents.co.uk or visit her site at Collinscasting.com​

From casting to visual storytelling - Louise Collins on her directing debut for Sylvie Wiley’s 'Stranger In My Sheets'

Stranger In My Sheets (Official Music Video)

Bonnie &amp; Clyde meets&nbsp;Spring Breakers in Tyrus's video for Jordan&nbsp;Adetunji.&nbsp;The London-shot video for Go features&nbsp;the Belfast-born artist as a getaway driver, in a frantic amalgam of stylised set pieces following a corner shop robbery.&nbsp;Intercutting cinematic slow-mo shots and energetic FPV drone footage, the video boasts an intimate love story set against a backdrop of unabashed freedom and lawlessness - a classic formula given a fresh, contemporary twist.&nbsp;

United Kingdom

Tyrus

Mouthpiece

Alt-Pop

Jordan Adetunji 'Go' by Tyrus

Jordan-Adetunji-'Go'-by-Tyrus

Aidan Zamiri directs a fabulous lo-fi romp for Swedish rapper Yung Lean and FKA twigs.&nbsp;The video for Bliss sees twigs waiting to be picked up for the prom by Lean - messaging him on Microsoft Excel in true <a href="https://www.youtube.com/watch?v=8WYHDfJDPDc">Nelly &amp; Kelly fashion</a>&nbsp;- and eventually going on a very British, very lo-fi journey through suburbia.[imgtoken data:1]There's a horse, a car with chandeliers attached to the front and a frantic older woman chauffeuring them around... and that's all in the first few moments.&nbsp;In true twigs fashion, it's off-the-wall but surprisingly fluid, and&nbsp;plays to Zamiri's Noughties fashion sensibilities. The whole video looks like it was shot on Hi8 - and it's brilliantly edited by Jack Foster and Zamiri.Most importantly, they make a great pairing of contrasting attitudes that entirely rings true for the concept: Lean is playing it cool, and managing to be almost entirely deadpan; while twigs&nbsp;is arguably at her most coquettish.&nbsp;It really is Bliss.[imgtoken data:2]

Aidan Zamiri

Object & Animal

Yung Lean ft FKA twigs 'Bliss' by Aidan Zamiri

Yung-Lean-Ft.-Fka-Twigs-'Bliss'-by-Aidan-Zamiri

CC Wade have created a spectacular Genet-inspired video for Fat White Family: a homoerotic love tragedy set on the battlefield.&nbsp;The directing duo have collaborated once again with Francesca Di Mottola - winner of the award for Best Production Design at last year's UKMVAs for the directors' video for <a href="https://www.promonews.tv/videos/2018/09/07/king-krule-biscuit-town-cc-wade/54898">King Krule's Biscuit Town</a>&nbsp;- to create a complete cinematic world in the studio that would not look out of place in a Powell &amp; Pressburger classic. The long, climactic battle scene, in particular, is a triumph of old-school filmmaking craft.&nbsp;With the label version of the video for Feet released back in January, this version is the Directors Cut - what CC Wade consider the finished video. And it's a joy to behold.

CC Wade

Somesuch

Rock

Fat White Family 'Feet' by CC Wade

Fat White Family - Feet (Official Video) (Explicit)

Just when you think you&#39;ve dumped your girlfriend or boyfriend, it turns out they&#39;ve dumped you. That&#39;s the principle behind Dylan Holmes Williams&#39;s video for Banfi&#39;s Never Really Cared, where several biters get well and truly bit, in increasingly imaginative episodes.Banfi bandmembers are always on hand to witness these small catastrophes too - at least until a middle-aged astronaut decides to give&nbsp;Earth itself the big heave-ho. It&#39;s an epic finale to a thoroughly entertaining work.Not quite sure about Dylan&#39;s account on the making of the astronaut&#39;s scenes though.&nbsp;Surely smoking in space isn&#39;t allowed...?

Dylan Holmes Williams

Rubbernecker Films

CHEAT

Natalia Maus

Indie

Banfi 'Never Really Cared' by Dylan Holmes Williams

Banfi-'Never-Really-Cared'-by-Dylan-Holmes-Williams

Emmanuel Adjei returns with another signature mind-bending visual story, this time for Mark Pritchard.The clip - shot in colour and then graded in black and white by Jim Bracher at The Mill &ndash;&nbsp;allows the audience to float ghost-like around a storage-facility-turned-living-space in a near-future of overpopulation. We peer into these rooms and see vignettes of compacted lives: poverty living next door to artistry living next door to death.It&#39;s a dystopian world that exists in a perpetual state of chaos, and the camera is the visitor to this world, moving fluidly through the site in what appears to be a one-shot - courtesy of a couple of invisible cuts.

Louise Collins

Director

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