BOLD

Director

Tom Haines

Tom Haines directs an illusory promo for Hayden Thorpe's Parallel Kingdom.&nbsp;Filmed during the summer solstice in a neolithic stone circle, the action stands in for whatever pagan rites occurred there, be that contemporary, anachronistic or performative. The stones act as a zoetrope, splicing the screen to jump between characters, between time, creating a kaleidoscopic effect. Down is up. Round is round.The surreal, dreamlike quality of the vignettes adds to the enigmatic soundscapes and vibe of the track, and encourages viewers to dig deep into the meaning of each image.

United Kingdom

Izzy Graham

Agile Films

Precious Mahaga

Sophia Dembitzer

Rose Lucas

Sy Turnbull

Pete Wade

Sam Smith

Meryn Cobbin

Beth Roberts

Kit Wells

James Bradley

James Bramford

OB Management

Grant Sandy Phillips

Alternative

Indie

Hayden Thorpe 'Parallel Kingdom' by Tom Haines 

Hayden-Thrope--'Parallel-Kingdom-'-by-Tom-Haines-

Hayden Thorpe - formerly of Wild Beasts - ponders science and nature in Tom Haines' poignant promo for The Universe Is Always Right.&nbsp;Shot in a beautifully naturalistic style in and around Hayden's native Cumbria, the narrative of Hayden as a mysterious figure discovered and brought back to health by a local farmer family, is inspired by the world around us, and the time we have had for reflection across the last year.&nbsp;Anchored by strong performances from the artist and each cast member, and breathtaking countryside backdrops, the entire project is arresting and quietly moving, and well worth a watch.[imgtoken data:1]&nbsp;

James Bamford

Domino Recording Co

Hayden Thorpe 'The Universe Is Always Right' by Tom Haines

Hayden-Thorpe--'The-Universe-Is-Always-Right-'-by-Tom-Haines

Tom Haines embraces the echoes left behind by nightlife culture, in his passionate promo for Camelphat's Easier.&nbsp;Haines reimagines the past barren year of club culture, the ghostly reminders of what&nbsp;life was like just over ten months ago, with the help of regular collaborator, DoP Steve Annis. They pull together a more optimistic perspective as we weave in and out of&nbsp;outlandish, no-holds-barred dance spectacles.&nbsp;It begins with the lead character engaging with the technology that makes the clubbing experience so special and otherworldly, and soon there is a vibrant&nbsp;display of lasers, haze and remote heads, encapsulating the hypnotic, hyperactive energy of the dancefloor - just like the good old days.

Hayley Williams

Ty Hack

Steve Annis

Mike Linforth

Kilo Mclaren

Alex Gibbon

Fin Sully

Natalie Caroline Wilkins

Billie Mackenzie

Dan Sherwin

Dan Millar

Sony

House

Electronic

Camelphat x Lowes 'Easier' by Tom Haines

Camelphat-X-Lowes-'Easier'-by-Tom-Haines

He's sleazy, greasy, a bit scary, and not well at all... that's Baxter Dury in two memorably scuzzy videos by Tom Haines - who tells us about how these&nbsp;contrasting yet complementary videos for Slumlord and I'm Not Your Dog came about.These two new videos mark a welcome return to music video after a long hiatus by Tom Haines,&nbsp;who has previously directed acclaimed videos for the likes of Jon Hopkins, Nick Cave, New Order, White Denim and Tunng.[vidtoken data:0]The video for <a href="https://www.promonews.tv/videos/2019/11/21/baxter-dury-slumlord-tom-haines/62018" target="_blank">Dury's Slumlord</a> - his first for nearly four years - is studio-based&nbsp;and&nbsp;highly stylised, and takes an unapologetically lurid approach to the compelling character at the heart of Dury's narrative song.&nbsp;&nbsp;[vidtoken data:1]That was closely followed by&nbsp;Haines' video for <a href="https://www.promonews.tv/videos/2020/02/04/baxter-dury-im-not-your-dog-tom-haines/63087" target="_blank">I'm Not Your Dog</a>, which takes a quite different, very cinematic approach. It's created like a moment from a longer narrative, filmed on a Meditteranean beach at dawn. But it is also a vehicle for another of Dury's supremely seedy characters.So we asked Tom Haines for the background info on this particular morning glory - and it's theatrical predecessor...PROMONEWS: How did your long-awaited return to music videos with these two Baxter Dury videos happen?TOM HAINES: The Slumlord video was more of a straight pitch, although I’d been bugging everyone to try and work with him for a while as I’m a fan. But in both cases we had some long and sprawling conversations more than written treatments, and from that we found some nuggets to start creating ideas around. I’ve managed to have that approach with a few artists I’ve worked with and it’s way more satisfying than going in cold with an idea you hope they might click with.<blockquote>I’d been bugging everyone to try and work with Baxter&nbsp;for a while - I’m a fan.</blockquote>You clearly understand his performing persona very well, so do you have any ‘previous’ with Baxter?Ha, no, not that I know of. But I think for whatever reason we’ve hit it off and found a good place creatively, or maybe there’s shared interests - hard to say.I think a lot of it is down to him being open and accessible, and with it being more of a performance thing, me trying to match that openness too. It’s his persona on screen and he has to own it, so I wanted him to be 100% comfortable with it. The great thing about Baxter is he’s excited about the result, he’s an active collaborator, he brings a lot to it - which is refreshing.[imgtoken data:1]Above: Baxter Dury in character on the set of the Slumlord video: somewhere between&nbsp;"'80s&nbsp;Serge Gainsbourg" and&nbsp;"Zoolander’s Derelicte look."Can you explain the process of turning the character of the Slumlord in the song to his on-screen incarnation? How much cajoling did it take for Baxter to make him so horrible?Baxter’s thing is characters. He is a character, each song presents a kind of a character.&nbsp;So he was up for pushing that and embracing it. So in reality, very little cajoling, he was just enjoying it, and giving us free rein to push it.We talked about things like '80s&nbsp;Serge Gainsbourg, Night Of The Hunter, Biggie Smalls, and Zoolander’s Derelicte look... so a pretty heady cocktail which all fed into it.&nbsp;How did you arrive at the idea of creating the Slumlord’s world in a studio space? What were the challenges with that approach?This was my first video in ages, and I wanted to break with the past in a way. I wanted to play with something more expressive and less bound by realism.[imgtoken data:2]<blockquote>[Slumlord] is supposed to be this weird inverted hip-hop video... but it also somehow reminds me of&nbsp;Bottom.</blockquote>We had small budget so the idea of these negative space sets came about and then, using different colour tones to define them. It’s a tricky approach as you’re filling a large studio with just a few items, but once you embrace the theatricality of that, it’s freeing.It was supposed to be this weird inverted hip-hop video, with the pennies as bling, the car, the dancers and so on, in a "Downtown 81" world - but it also somehow reminds me of&nbsp;Bottom. Baxter has a rich sense of humour, luckily.&nbsp;The ‘chorus’ is so important as a foil for Baxter – as in most of his songs – and they are crucial to the success of the Slumlord video. How did you cast the chorus?We worked with a brilliant choreographer Anna Engerström who also cast it, the brief was to cast more on personality in a way, than looks - it was about what they could bring as dancers, what ideas they had. Again playing with this hip-hop/new jack swing vibe, but just throwing a whole load of left-field energy at it, so it comes off weird and a bit disturbing.[imgtoken data:3]<blockquote>Filling a large studio with just a few items is a tricky approach, but once you embrace the theatricality, it’s freeing.</blockquote>Was it the original plan to make two videos? Or has the I’m Not Your Dog promo happened as a result of your collaboration with Slumlord?I was tied up with some other projects when they were trying to figure out [what they were doing on] I’m Not Your Dog. But for whatever reason&nbsp;that stalled and I became free again, and then it was so fast.We got on the phone and talked through some tiny strands of ideas I had, and then literally a week later we were all in Benidorm prepping for the shoot. Having been in the world of film development for a while, that kind of helter-skelter turnaround is pretty liberating.You mentioned the influence of&nbsp;Serge Gainsbourg&nbsp;on Baxter’s work – is he channelling Serge in the I’m Not Your Dog video, or some other character?He calls himself, or maybe people call him, the Cockney Gainsbourg, and maybe there’s a bit of that. But the character is more this kind of faded European club owner. He’s a construct - the rest is Baxter.&nbsp;[imgtoken data:4]<blockquote>We got on the phone and talked through some ideas...&nbsp;a week later we were all in Benidorm.</blockquote>What was the germ of the idea you had when you heard I’m Not Your Dog that you discussed on the phone with Baxter?I think I had a sketch of the location, and an element of his character, but then Baxter was mentioning an old Alain Delon film, and it kind of blended into that. So he became Alain, the ruined nightclub owner left for dead in off-season Benidorm. We talked about other films too, and I sent him Killing Of A Chinese Bookie, which he loved the look of, and that was something to draw from - it was all about finding the fine line between decadence and sleaze.&nbsp;Although Slumlord requires Baxter to play the character, I’m Not Your Dog required a different level of performance from him – proper acting. How confident were you (and how confident was he) that it was going to work?It’s funny, we didn’t get into too much detail until the shoot, and he’s so busy with tour and promo stuff, but I wrote a whole backstory and Baxter responded to that. But I think, just having spent some time with him, that he’s a natural performer in any situation, so it really wasn’t a stretch in my head. For him, he’s always saying, 'I’ll do my thing’ - but I felt I could push or pull him in the right direction.[imgtoken data:5]<blockquote>We knew we wanted to stop just before the sun came up fully - so&nbsp;we started an hour and a half before that good light to rehearse&nbsp;</blockquote>It’s a one-shot, filmed at what appears to be the perfect moment of the day - how did you achieve that? Did you need many takes did you get to nail it?&nbsp;This is a shoot that very nearly didn’t happen. There was a huge storm coming in on the actual shoot day, and for a moment we were like: that could look cool on camera, but the police called our fixer and warned us against shooting, so we pulled it forwards and shot at dawn.It is hairy. The single shot idea means it’s way more finite, and you are at the mercy of a few factors. We knew we wanted to stop just before the sun came up fully, as the light starts looking too ordinary, and also the beach lights turn off. So we started an hour and a half before that good light to rehearse, and also get some safety shots just using the beach lighting. We only got two in this good light, and this was the penultimate.[imgtoken data:6]<blockquote>There was a huge storm coming in on the shoot day... so we pulled it forwards and shot at dawn.</blockquote>I need to add that once the storm came in, the airport shut and we spent the next day driving 800 KM to try and outrun the storm and get home. Baxter was with us the whole time, and if there was ever someone you wanted to be stuck in a storm in Benidorm with, it’s Baxter. I have a funny video of us dancing with some Spanish grannies after a bit of blitz spirit drinking.Did you have an alternative plan if this one didn’t work out?We’d sourced a couple of other locations for weather cover, but it would have been such a different video, way more average. So I’m really glad we didn’t fall back on those. But it’s a very strange feeling when you wrap at 8am having only been working for two hours.&nbsp;[imgtoken data:7]<blockquote>I wrote a whole backstory [for the character] and Baxter responded... he's a natural performer.</blockquote>Steve Annis was the DoP on this one. What did Steve bring to the project?&nbsp;I haven’t worked with Steve in a couple of years and he’s done some huge projects in the interim, so he’s become very slick in terms of organising his crew, his vision and so on. But beyond that, he’s just super generous. He came out for free, he had an instinct that it would be a good project. He’s also done a few one-takes before, so that experience was invaluable in terms of making it achievable, and being realistic about what we needed.&nbsp;Not so much about the video-making process, but Baxter of course has a famous father. Did&nbsp;Ian Dury&nbsp;ever come up in your conversations ? Do you think he is an influence on the fact Baxter has increasingly gone for a character-based approach to his music?Baxter volunteered some stories, but I didn’t want to ask him too much about that, as he’s so much an artist in his own right. But he’s quite self-reflexive about it, especially because he’s writing a book at the moment about his childhood. So I think he has a lot of it swimming around his head. I don’t honestly know how much it directly influences his music, or his characters, but it seems he’s lived a quixotic life full of characters, which probably emanate from that.[imgtoken data:8]&nbsp;• This has been a co-production by&nbsp;Promonews and Agile Films

Behind The Videos: Tom Haines on Baxter Dury's Slumlord and I'm Not Your Dog

Baxter-Dury--'Slumlord-'-by--Tom-Haines

Baxter-Dury-'I&#039;m-Not-Your-Dog'-by-Tom-Haines

Baxter Dury 'Slumlord' by Tom Haines

Baxter Dury 'I'm Not Your Dog' by Tom Haines

Baxter Dury has reached the point of no return in Tom Haines'&nbsp;video for I'm Not Your Dog.Following the sleazy performance and sickly aesthetic of their previous collaboration on <a href="https://www.promonews.tv/videos/2019/11/21/baxter-dury-slumlord-tom-haines/62018" target="_blank">Slumlord</a>, there is considerably less grit and grime this time around. Instead we see Dury in a dramatic&nbsp;portrayal of a man in deep trouble, on the boardwalk of a city resort: it could&nbsp;pass for Miami, but is in fact a&nbsp;strip of Benidorm on a January morning,&nbsp;captured by Haines and DoP Steve Annis in a single take. &nbsp;Dury has a proper amount of acting to do in this video, but he delivers with an air of confidence and the cheeky humour that permeates both his music and persona. The juxtaposition of the dreamy beach location, and a man seemingly dying from a critical wound is ironic and dark, but it's a great fit for the artist and his alternative approach to music.&nbsp;

Javier Alonso

Sonia Royo

Fred Fabrega

Nil Tomakan

Nick Armstrong

Simon Bourne

Ben Beauvallet

PIAS

Sam Vines

Andrew Fletcher

Alternative, Indie

Baxter Dury stars as the degenerate Slumlord&nbsp;in Tom Haines hedonistic new visual.Opening in&nbsp;a sickly yellow-hued studio set, Dury has his back turned towards the camera as he takes a leak in a prop toilet. And this pretty much sets the tone for the whole video.&nbsp;Smoking cigarettes as he wades through a mountain of 1p and 2p coins, the charismatic Baxter&nbsp;is the King of his rundown slum - represented by spartan but clever art direction. He's assisted by a&nbsp;handful of group of artfully shambolic and groggy dancers. Whether they are propped against dirty mattresses or performing a choreographed dance among kitchen chairs, this group lend a grimy edge to the proceedings.&nbsp;Lensed by&nbsp;David Foulkes, the unusual choice of coloured lighting, including hues of yellow and&nbsp;nicotine brown, creates a surprising&nbsp;aesthetic that gets under your skin. It's not always&nbsp;a comfortable watch, and you may feel a bit grubby by the end - but it's well worth it.&nbsp;

Craig Dixon

David Foulkes

Thomas Liam Davis

Jojo Copeman

Mimi Winsor

Cut+Run

Richard Fearon

Heavenly

Rock

In the past few years&nbsp;Tom Haines&#39;s music video outings have been showcases&nbsp;for some big characterisations, from the privileged thug&nbsp;in <a href="http://promonews.tv/videos/2011/06/02/unkle-feat-nick-caves-money-and-run-tom-haines" target="_blank">UNKLE&#39;s Money And Run</a>, to the hallucinating raver in&nbsp;<a href="http://promonews.tv/videos/2013/12/12/jon-hopkins-collider-tom-haines" target="_blank">Jon Hopkins&#39;s Collider</a>.&nbsp;Now he&#39;s had the chance to make a video for new music from New Order - one of his favourite ever bands &ndash; and he&#39;s created another memorable character with an ageing TV host who, after taking some bad news, slips into his own world of entertainment at the studio.&nbsp;So we asked Tom how the process came together, and how he came to cast his producer Sarah Tognazzi&#39;s actor-director father Ricky&nbsp;in the lead role.&nbsp;[vidtoken data:0]Promo News: This is your first music video since Jon Hopkins&rsquo; Collider over two years ago. What&rsquo;s the appeal for you of making them these days?Tom Haines: I still love music videos, still believe in the power of them, and get inspired when I see something incredible. I think it&rsquo;s a great place to try out ideas, grow as a filmmaker and get exposure you can&rsquo;t with other media. As Emily Kai Bock said at the MVAs a couple of years ago, they are Art and should be regarded as Art in the same way features are. But that said, the path can be treacherous.&nbsp;Where did the story come from - inspired by the song or something you&rsquo;ve wanted to make for a while? And what was the key thing that made it appealing to New Order?I took my cues from the Italo Disco sound that the track has.&nbsp;It conjured up something fanciful, laced with acid colours, bordering on tacky, but then there&rsquo;s the slightly melancholic lyrics Bernard sings which underpin it &ndash; classic New Order juxtaposition &ndash; and through pitching ideas at them and discussing them with Bernard, I arrived at this character.<blockquote>&quot;Music videos&nbsp;should be regarded as Art in the same way features are. That said, the path can be treacherous.&quot;&nbsp;</blockquote>I love films and characters that traverse backstage and frontstage within a narrative, like Network, or Philip Baker Hall in Magnolia - there&rsquo;s something fascinating about the private interior lives of public personalities. And then because of the Italo soundtrack it felt natural to give it a European feel, place it in that weirdly saturated world you might discover zoning out in a hotel room on your holidays.&nbsp;Some Seventies-era British TV entertainers have become associated with terrible acts and abuses of their power. Your character seems more benign, but how should we read his relationship with the young dancer?&nbsp;I&rsquo;d like the reading to be benign. I didn&rsquo;t have any subtext in mind, or even anything romantic. I just wanted her to be the only one who &lsquo;saw&rsquo; him, and felt there was something sweet and sincere within that, and it could be expressed platonically.[imgtoken data:1]<blockquote>&quot;Sarah Tognazzi&nbsp;was understandably quite apprehensive about working with her dad - but I thought he&#39;d be perfect.&quot;</blockquote>Who did you cast in your leading role, and did you suggest that he model his performance on any particular old school TV star?The lead actor is Ricky Tognazzi, father of MVA winner Sarah Tognazzi. Originally I&rsquo;d approached him through Sarah [who produced the video] for ideas for other Italian actors &ndash;&nbsp;Sarah was understandably quite apprehensive about working with her dad. But I looked up his work and talked with him on Skype and thought he&rsquo;d be perfect. In fact I thought, we&rsquo;d be really lucky if he says &#39;yes&#39;. But he was into it and gave us 100%, which on a huge promo day, is not an easy thing when you are in every shot.Where did you shoot the video and what were the biggest challenges of the shoot?We shot in the national TV station of Slovenja &ndash; the Slovenian BBC if you like. There was a station manager there who was a huge New Order fan and backed us shooting there, which was unprecedented. Division, our service company, said they don&rsquo;t even let big paying commercials in.We set-built on Friday and Saturday and shot on Sunday,&nbsp;which meant that the studios were mostly unused and we could have the run of the entire building. In terms of challenges, there were so many moving parts that it was a lot to cram in to one shoot day - and I was nervous about the choreography, which I&rsquo;ve normally ad-libbed but here I had to make sure it all ran like clockwork.&nbsp;[imgtoken data:2]You have a more linear Director&rsquo;s Cut with an additional scene in the TV host&rsquo;s dressing room where he inhales oxygen. Why is that important for you in telling the story?I&rsquo;d always seen the video as more linear. At one point Steve Annis [the DoP]&nbsp;and I even discussed the possibility of a one-take, but that would have been suicidal. I felt that as a linear edit you get more of a connection to the character that then builds to a more satisfying pay-off at the end. The oxygen mask came to me as an anecdote from an industry contact that works closely with these type of personalities, and I fell in love with the idea of our host needing a very distinctive crutch for his malaise.&nbsp;

Tom Haines on New Order's Tutti Frutti video: "Interior lives of public personalities are fascinating"

New Order - Tutti Frutti (Official Video)

New Order 'Tutti Frutti' by Tom Haines

Tom Haines has directed this subtly performed, character-led video&nbsp;for New Order&#39;s second single Tutti Frutti, from their latest album Music Complete.&nbsp;In it, Italian actor&nbsp;Ricky Tognazzi (father of MVA-winning producer Sarah Tognazzi) brilliantly plays&nbsp;a freshly dismissed television show host&nbsp;who has clearly enjoyed&nbsp;a long career in the business. And as we follow him through the winding backstage corridors, it becomes clear that he,&nbsp;understandably,&nbsp;isn&#39;t&nbsp;taking the news too well.But once the downtrodden ex-host reaches the stage, a proper meltdown begins&nbsp;as a particularly strong&nbsp;defence mechanism&nbsp;grants him ability to relive the excitement&nbsp;one last time...

Sarah Tognazzi

Rob Godbold

Benjamin Begovic

Division Slovenia

Ameena Kara Callender

Monika Lorber

Natasa Rogelj

Tina Hribernik

Mare Filipic

Mitja Popovski

Dan Sherwen

Final Cut

James Banford

The Mill

Coffee & TV

James Cobbold

750MPH

John Moule

Alexa Haywood at Free Agent UK

Indie Rock

Tom Haines&#39;s film for Jon Hopkins&#39; Collider has a hard act to follow, coming after&nbsp;the epic award-winning&nbsp;video for Hopkins&#39; Open Eye Signal.&nbsp;There&#39;s a similar focus on one individual, and photography once again by the redoubtable Steve Annis - who won the best cinematography award at the UKMVAs in October for his work on Open Eye Signal.&nbsp;Unlike that Aoife McArdle-directed video, this is a far more intense, internalised experience. But it&#39;s just as mesmerizing.A girl&#39;s extreme behaviour at a rave leads to her switching into an alternate reality, alone in an&nbsp;vast derelict industrial&nbsp;space. And in her increasingly frenzied state, this switches to being&nbsp;her main reality.&nbsp;&nbsp;

Rogue Films

Connor Hollman

Aubrey Woodiwiss

Electric Theatre Collective

Hammond & Cox

Amanda Wass

Domino

Dom Gomez

Electronica, Alternative

Jon Hopkins 'Collider' by Tom Haines

Jon Hopkins 'Collider'

With their new album teetering on the verge of the UK charts, American duo The Civil Wars now have a dramatic and emotive video to accompany their single &#39;The One That Got Away&#39;. &nbsp;And it&#39;s one that pulls out all the stops, with Tom&#39;s driving narrative powerfully and succinctly fitted into three and a half minutes.Filmed on location in&nbsp;Arkansas and Oklahoma, we follow one woman struggling to make her way in post-disaster towns and small rural communities. &nbsp;Stunning scenery and twisting relationships are a plently.

United States

Lol Crawley

Anne Johnson

Jason Botkin

Cap Gun Collective

Saul Levitz

Julian Eguiguren

James Tillett

Folk

Alternative Country

The Civil Wars 'The One That Got Away' by Tom Haines

The Civil Wars "The One That Got Away"

Every January, in the village of San Bartholme De Pinares in Spain, the locals participate in a 500 year old Christo-Pagan ritual of purification by fire and smoke. This involves "cleansing" horses and their riders (of all ages) as they pass through burning pine brush. This has evolved from a purification ceremony around the time of the Great Plague.

Tom and Steve spent a week filming in and around the cobblestoned village, interviewing residents in the build up to the festivities. "I think they fully believe in the purification element," Tom told Nowness. "Pregnant women jump with horses through fire, guys clutching six-month-old babies. That aspect of it certainly is fundamental." 
Using grainy 16mm film, Luminarias portrays the drama, confusion and traditions of the event in a painterly, expressive way, while the multi-layered collage of sound design and music and text render the drama of the fiesta.

Ilduara Lamas, Tom Haines

Colonel Blimp

Andy Paddon

Ben Rogers

Sven Taits

'Luminarias' by Tom Haines

'Luminarias'-by-Tom-Haines

Tom Haines traveled to the faded urban landscapes of Cuba for his latest video - a story of hope and determination in the unforgiving world of aerial acrobatics.
The promo, for Temper Trap's new single Trembling Hands, follows an acrobat's struggle to prove herself on the ropes, building to a thrilling moment in the spotlight. Tom draws strong, passionate performances from the cast of Cuban trapeze artists, bringing authenticity and suspense to a quietly emotional narrative.

Tiernan Han

Island Films Cuba, Michelle Corney and Frankie Elster

Connie Meade

Temper Trap 'Trembling Hands' by Tom Haines

Temper-Trap-'Trembling-Hands'-by-Tom-Haines

The combination of UNKLE with Nick Cave demands something special, and the video for Money And Run by Tom Haines does not disappoint. It grabs you by the throat with its portrayal of moneyed thugs on a weekend jolly in the country - and leaves the sense of how sickeningly unfair life can be. 
"The video takes Nick Cave's mantra of "I took the money" and uses the self-aggrandising, first person sermon as the narrative start point," says Tom. "Coupled with UNKLE's layered, psychedelic treatment of the track its a re-imagining of a weekend romp, where a group of toffs act-up, cause havoc and generally have their way, unimpeded by the rule of law."

"The idea was to present a world that is once removed from reality, a sort of exaggerated reality in the vein of JG Ballard, Will Self - or even more pertinently Anthony Burgess, in that it's a gang who are essentially amoral sociopaths, ready to fight or fuck whoever they see fit, echoing the infamous Droogs.
"It's not intended as a direct broadside to any particular politician, though borrows from the iconography and styling of the Bullingdon Set - who now reign supreme. I suppose it's a crude allegory, but in that sense it allows us to have a lot of fun with the scenarios and settings. The kind of fun that makes you feel uneasy in hindsight."

Veronica Saez &amp; David Wieder

The Hobo Film Company

James Lees

Marko Fuchs

Richard Hudson

Saffron Hunt

Andy P

Jack Meadows

Ed Line

Prime Focus

UNKLE feat. Nick Cave's Money And Run by Tom Haines

UNKLE-feat.-Nick-Cave's-Money-And-Run-by-Tom-Haines

Two-times Ivor Novello nominees The Leisure Society enlist Tom Haines - fresh from his <a href="http://www.promonews.tv/2011/03/28/the-barbican-%E2%80%98walking-the-walls%E2%80%99-ad-by-tom-haines/" target="_blank">Walking On The Walls</a> ad for The Barbican Gallery - to direct the promo for This Phantom Life, the first single to be lifted from their forthcoming album Into The Murky Water (May 2). 
And Tom 'gets it together in the country' with the band, and also brilliant comic actor Mark Heap (from Big Train, Blue Jam, the deranged Alan in Green Wing, and most recently, Friday Night Dinner), who plays a distinctly dubious self-styled guru. 
"The Leisure Society are a well connected bunch," notes Tom. "We had originally asked Nick from the band's mate Paddy Consadine, but as he's hung up his acting spurs, he put us in touch with other acting chums until Mark Heap showed an interest. Mark was great, he brought a lot to the part, and dealt with the cold weather and cold risotto like a champ.
"The idea was to tap into the charlatans behind new age ideologies - people like Carlos Castaneda who preach positive/interesting ideas that some people buy into wholesale, but ultimately just want to get laid, or buy Rolls Royces. That plus a lot of Kate Bush-esque prancing. Namaste."
Namaste yourself, Tom...

David Stafford

Bullion Productions

Ben Todd

Miren Maranon

The Leisure Society's This Phantom Life by Tom Haines

The-Leisure-Society's-This-Phantom-Life-by-Tom-Haines

Tom Haines made this engrossing short-cum-ad for the current Barbican exhibition "Laurie Anderson, Trisha Brown, Gordon Matta-Clark - Pioneers of the Downtown Scene, New York 1970s" in London, which focusses on Brown's Walking on the Wall performance piece - performed every hour at The Barbican Gallery. 
Very cool, and now showing on Wallpaper magazine's website. Tom has also just directed a promo for Full Time Hobby's Leisure Society - featuring comedy actor Mark Heap in fine form - coming soon.

Jack Newman

The Barbican ‘Walking On The Walls’ ad by Tom Haines

The-Barbican-‘Walking-On-The-Walls’-ad-by-Tom-Haines

Tom Haines's video for Maxïmo Park lead singer Paul Smith's solo project builds the mood around the song with a set of evocative and enigmatic set pieces. No fireworks here, but the cumulative effect gives room for Smith's unhurried (and un-Maxïmo-like) ruminations.
"I had spoken to Paul in the past, so we had a relationship through that and it was great to finally work with him,' says Tom. "He was keen not to have anything literal to the song and wanted something that hit the right tone visually - something sparse, empty and yet emotive. I was interested in the idea of conveying those feelings through negative space, through what was absent from the scene or the frame, and have different elements that added up to a feeling but were somehow connected through action. 
"We got extremely lucky with the weather and the light, being the only sunny day in a week of showers, and lucky with the cast - all of which came together at the eleventh hour (including the cat!). Saffron Hunt (stylist) and Steve Annis (dop) were their usual stalwart greatness, and Jack the producer was brilliant at dealing with all the typical curve balls thrown at us. Special mention to Nick, the first who slept out in his car in the depths of East London just so he could be there on time - that's dedication!"

Jack Whilding Newman

Emma Copeland

Jessica Bernard

Thomas Grove Carter

Pulse Films

Jason Rackham

Paul Smith’s Our Lady Of Lourdes by Tom Haines

Paul-Smith’s-Our-Lady-Of-Lourdes-by-Tom-Haines

Tom Haines has directed this fine ad-cum-promo for The Surreal House - the new exhibition at The Barbican in London.
An appropriately abstract love story was filmed at the exhibition itself, where Tom and cameraman Steve Annis faced some daunting issues. "We were working among artworks worth millions so we couldn't really light it," says Tom. "A bit of winging it was involved. But it was a nice project, we had free rein. What I was going for was a wonky version of a perfume ad." 
Produced independently with Pinky Ghundale (who works with Steve McQueen and the Wilson Twins on their art films) it is also effectively Tom's first 30 second ad, and now it will be shown at the Barbican and Renoir cinemas and online. Tom's next project is a video for the Spanish band Hola a todo el mundo.

Pinky Ghundale

Jeremi Durand, C

The Surreal House by Tom Haines

The first single from White Denim's second album - out on 22 June - is Tom Haines' second video for the band, following the outstanding <a href="http://www.promonews.tv/2008/09/08/white-denim%e2%80%99s-shake-shake-shake-by-tom-haines/">Shake Shake Shake</a>.
I Start To Run is just as exuberant as Shake, just as superbly shot by Steve Annis, and featuring a gang of shotgun-wielding inbred crazies holding the band hostage, it's at least twice as demented. Well, it was shot in Wales.
Run, fat boy, run...

http://www.youtube.com/watchv=VW26TBF1boo[/youtube]

Academy Films

Sam W

Ellie Gibson

Paul O'Brien

Nigel Adams

White Denim’s I Start To Run by Tom Haines

White-Denim’s-I-Start-To-Run-by-Tom-Haines

Tremendously good video for the rockin' Texan boys White Denim by Tom Haines - with the band in a Bermondsey junkyard, replete with groovy dancers, erotic car-washing by a big lady, and a dangerous child named Stanley.
Loads of fun and very cool, nearly everyone on screen with the band makes an impression - including the owners of the yard. Tom has done a great job and, as he acknowledges below, revived the loose narrative feel of his early videos like Tunng's Jenny Again.
Like that Tunng video and Tom's others, this was shot by Steve Annis and it looks bloody marvellous - possibly the best advert for shooting on film I've seen this year. Would it look this good on tape On a Red You know the answer.

Tom Haines on making the video for White Denim's Shake Shake Shake
"It was back to basics for me. Shooting on film - it was shot on Super 16mm - with me and my DP Steve Annis running around making up shots on the day.
"It's going back to the naturalism of my early videos, like Tunng's Jenny Again, combined with what I've learnt since. And it's such a great balls-out song. I love White Denim.
"I wanted to have a Mad Max-type of setting, and another influence was the movie <a href="http://www.imdb.com/title/tt0262432/">George Washington by David Gordon Green</a>, which has feral kids in an almost-but-not-quite post-apocalyptic environment. That's what I wanted - and you have to see what you can get don't you
"We chose the first place we looked at. It's in south London, and it wasn't very big, but the guys who run it - and who are also in the video - were very easy-going, and when you're in a location like that you need to have people on your side.
"I was at Framestore doing the online, and Mike Woods, who I've worked with a lot over there, came in to have a look at the footage. All he could say was 'look at those cars, those Beemers - what a waste!' I was asking him how he liked the video. He just wanted to know where I shot it.
"We didn't have that much time with Stanley, the boy. We were only allowed to have him for a few hours so he only came around about four o'clock. It was all pretty quick. I wanted him to have some interaction with a family of very tame foxes who lived next to the yard. But they were freaked out - by the noise of the band more than anything.
"We had all kinds of dancers doing street and crunk in the casting. But the guy in the check suit in the video he's pretty special. He reminded me of a sot fo Shane meadows character and he took it mega-seriously. He came in and asked to hear the track and eeach time he stomped around exactly the same way.
"I think we got lucky - everyone had the right attitude and they looked great."

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