Tom Oliver is a freelance director crafting socially and environmentally driven films with human stories at their core.Hailing from a background in fine art, his work spans commercials and documentaries for brands, agencies, and charities. Moving audiences through honesty, warmth, and technical craft.Based in London, available worldwide.

Director

Tom Oliver

Tom Oliver directs an absorbing showcase for London-based singer&nbsp;Filámont, connecting two of her tracks in a single music video.in the&nbsp;dual promo for Pretty Boy and Again, Filámont inhabits a playfully cinematic world, popping up in the corner of a dusty London bookstore, a late night off licence and the&nbsp;monumental Thamesmead estate, as she addresses a problematic personal life - before attending an uncomfortable double date.Unfolding through creative camera angles and perspectives, it's a gently&nbsp;eccentric, attention-grabbing visual. The two parts have their own identity, but work seamlessly as a whole, offering a vibrant glimpse into Filámont's mind.&nbsp;[imgtoken data:1] "The project was brought to me by my DP and dear friend Jay Whylie," explains Tom Oliver, directing his debut music video.&nbsp;"We were both drawn to the nostalgia in Filámont’s tracks and wanted the filmmaking to reflect the warmth and texture of the '90s and early '00s hip-hop that the music draws from."She came to us with two songs and the seed of two ideas: reading quietly and an uncomfortable double date. The image of her reading developed into the bookshop scene that opens the video, which is brought to life with custom books that align with the lyrics. "We were playful with our approach to the double date, exaggerating the tension through accusatory glances captured in ultra slow-mo. When an extra dropped out last minute, Andrew, who had been cast as the bookshopkeeper, stepped in as the fourth dinner guest. It was a fun, unexpected twist that helped visually connect the two halves of the film and brought a surreal levity to the scene.[imgtoken data:2] "Working with a tight budget, I knew locations would make or break the project. I visited countless second-hand bookshops across London before finding one that would work for us. The off-licence was a chance find during another recce - it felt stuck in time, untouched for decades. I befriended the owner, who kindly let us shoot there with a skeleton crew on our pickup day, before we headed down to Thamesmead to grab our exterior performances as night fell. "A vintage Cooke zoom lens, and gorgeous grade by Benita at No.8, put the finishing touches on a project that I’m proud to put out as my first music video. It was a joy to make and has sparked a real appetite to make more music videos this year." &nbsp;