Director

Vincent Haycock

A sea of disembodied hands grapple with Kesha's face, in Vincent Haycock's striking visualiser for Eat The Acid.&nbsp;The comeback hit is taken from upcoming album Gag Order, and comes equipped with an organic yet entirely surreal one-shot visual, with fingers sliding over the artist's face and inside her mouth, eventually trapping her in a tight link of flesh.&nbsp;The uncomfortable, claustrophobic nature of the video reflects the haunting soundscapes in the track, and makes for a staggering video, which teases a strong concept for the new album.&nbsp;

United States

Brian Roettinger

Somesuch

Aguita

Tim Nash

Sally Campbell

Alli Maxwell

Veronica Leon

Yamel Thompson

Jami Arceo

Ivy Lindsey

Steve Annis

Henry Martinez

Tyler Evans

Sandy Ganzer

Owen Gould

Turner

Dante Pasquinelli

Ethos Studio

Max Colt

Kesha 'Eat The Acid (Visualiser) by Vincent Haycock 

Kesha - Eat The Acid (Visualizer)

Vincent Haycock directs a thought-provoking promo for LA-based rapper Maxo.&nbsp;Shot by Steve Annis, the video is a dreamlike montage of the artist's performance, backdropped by the imposing architecture of the city around him.&nbsp;Interweaving shots of a girl dancing around the space, and bookended by spoken word interview snapshots, the video has an almost narrative structure to it, which plays out in an abstract, evocative fashion.&nbsp;Brilliant work with jaw-droppingly beautiful imagery and creative cinematography, which reunites&nbsp;Haycock with Maxo following the&nbsp;video last year for <a href="https://www.promonews.tv/videos/2022/08/31/maxo-ft-pink-siifu-48-vincent-haycock/78065" target="_blank">48</a>.[imgtoken data:1][imgtoken data:2][imgtoken data:3]&nbsp;

Nic Kirsten

Ashley Soloman

Whitney Jackson

Dave Siefert

Bill Allegar

Luis Suarez

Chad Nagel

Maxo 'Free' by Vincent Haycock

Maxi-'Free'-by-Vincent-Haycock

Vincent Haycock's richly atmospheric video for Maxo starts with the LA rapper's appearance on a street corner - and his gradual disappearance.That absorbing VFX-fired sequence precedes a more impressionistic foray into the world of Maxo and guest artist Pink Siifu. As always with Vincent Haycock this is masterfully done, and the black and white cinematography by Guillermo Garza is gorgeous.[imgtoken data:1] &nbsp;

Guillermo Garza

Iain Trimble

Terry Watson

Meredith Kurey

Bryan Escareno

Emily Shulmanovich

Zack Ramos-Taylor

Anthony Foster

Taylor Haycraft

Oscar Garcia

Nick Durr

Golden LA

Kevin Gallagher

Robin Roepstorff

Ovi Bogdon

Hip Hop

Maxo ft Pink Siifu '48' by Vincent Haycock

Maxo - 48 ft. Pink Siifu

Created for Nowness's&nbsp;Thanks For The Dance series honouring the work of Leonard Cohen, featuring the French actor&nbsp;Isaach De Bankolé.Filmed in Texas, Haycock told Nowness (who presented the project in collaboration with Sony Music Canada and the Leonard Cohen estate):&nbsp;“My initial thoughts of the song was that Leonard was singing about dying but then I realized he had written this poem well before his death. The chair symbolizes a final resting place, but there is also an idea of accepting what is coming and enjoying it.“The song is already pretty heavy and I was worried I couldn’t do it justice. So I meditated on his legacy, thought of a character that might have some of the traits Leonard told stories about and focused that energy and angst into this film.”• Full story and other Thanks For The Dance films at <a href="https://www.nowness.com/series/thanks-for-the-dance-leonard-cohen/the-hills-vincent-haycock-issach-de-bankole" target="_blank">Nowness</a>

Laure Salgon

Division

Nicolai Niermann

Leonard Cohen 'The Hills' by Vincent Haycock

Leonard Cohen - The Hills (Official Video)

For his fourth collaboration with Sam Fender, Vincent Haycock has crafted a video out of the rich local street casting and locations in Marseille, in the south of France. Portraying couples in their most&nbsp;vulnerable, intimate moments, the visual is a slice of life, a collection of raw universal moments that mirror the themes of the track.&nbsp;Shot on an Arri SR3 16mm camera with a minimal documentary crew, the choice to keep things smaller in scale pays off, with incredibly poignant imagery&nbsp;and a cast who were encouraged to really let go and be&nbsp;present in the moment. This is very evident in the final project, and is a testament to Haycock's skill as a director. &nbsp;

United Kingdom

Sepehr Azadi

Frederic Saj

Emilie Palet

Maxime Lebas

Marine Lebon

Vincent Grenouillat

Tommy Kern

Thomas Philip

Nayara Barros

Chakib Aiffa

Alexa Haywood at Free Agent UK

Semera Khan

Polydor

Rock

Sam Fender 'Will We Talk' by Vincent Haycock

Sam-Fender-'Will-We-Talk'-by-Vincent-Haycock

Vincent Haycock brings us The End in modern America, in his second video&nbsp;for Sam Fender.&nbsp;In Haycock&#39;s chilling satire, filmed in Los Angeles, missiles plummet&nbsp;to Earth from the cloudy sky above. But the&nbsp;blinking billboards and media alerts&nbsp;largely go ignored by the teenagers running rampant, who focus instead on living their best, and rapidly ending-life, on this planet.

Tara Razavi

Happy Place

Sam Fender 'Hypersonic Missiles' by Vincent Haycock

Sam-Fender-'Hypersonic-Missiles'-by-Vincent-Haycock

In a poignant and powerful video for Sam Fender&#39;s track Dead Boys, director Vincent Haycock depicts&nbsp;a&nbsp;portrait of young men, each experiencing their own troubles and despair, each&nbsp;facing&nbsp;sinister, suicidal scenarios.The combination of character,&nbsp;sometimes ferocious&nbsp;action and still life compositions&nbsp;produces a highly atmospheric and haunting visual, with Haycock&#39;s eye complimented by Rina Yang&#39;s camerawork.&nbsp;A brilliantly executed video that aims to raise awareness for the taboo subject of a very important subject.&nbsp;

Fred Bonham Carter

Park Pictures

Rina Yang

Thom Nicolson

Chris Rogers

Rob White

Vincente Ben

Joseph Bicknell

CHEAT

Singer-songwriter

Sam Fender 'Dead Boys' by Vincent Haycock

Sam-Fender-'Dead-Boys'-by-Vincent-Haycock

Vincent Haycock returns to music videos with an epic display of extraordinary visuals for Kelsey Lu.Shot on Vancouver Island, it starts strangely and slowly, with Lu shovelling dirt in a steaming mud swamp, wearing an increasingly spoiled white dress. But this draws you in to a haunting showcase of songs from the singer and classically trained cellist, delivered in a series of spectacular settings, as she wears a mind-boggling array of couture.Beautifully shot by Haycock&#39;s regular collaborator Evan Prosofsky and styled by Mindy Le Brock, this is a masterful way to invite the viewer to escape into Kelsey Lu&#39;s world and discover her music.

Abigail Flint

Alex Fisch

Jackie Bisbee

Evan Prosofsky

Tanya Melendez

Mindy Le Brock

Evan Parsons

Jo Carkner

Joel Hansen

Kelsey Lu 'Shades Of Blue' by Vincent Haycock

Kelsey Lu - Shades of Blue (Official Video)

It&#39;s been more than two years in the making. Now&nbsp;The Odyssey, the film to accompany&nbsp;Florence + The Machine&#39;s album&nbsp;How Big, How Blue, How Beautiful,&nbsp;is complete. Conceived by&nbsp;Florence Welch and Vincent Haycock,&nbsp;comprising chapters that have served as individual music videos for tracks from the album,&nbsp;The Odyssey&nbsp;charts the singer&#39;s real and emotional&nbsp;rollercoaster&nbsp;in a succession of narrative-driven dance pieces, choreographed by either Ryan Heffington or Holly Blakey, and&nbsp;filmed in a series of evocative locations in Los Angeles, Mexico, London and the Scottish Highlands.With the release of <a href="http://www.promonews.tv/videos/2016/04/25/florence-machine-third-eye-vincent-haycock" target="_blank">the final chapter, for&nbsp;Third Eye</a>, The Odyssey has also now been released in full on the&nbsp;<a href="http://florenceandthemachine.net/" target="_blank">Florence + The Machine website</a>. And it was premiered at the Rio Cinema in Dalston, London on April 20th, followed by a Q&amp;A session where Welch and Haycock discussed the project with AG Rojas.&nbsp;&nbsp;They started by talking about how it was conceived, some&nbsp;months&nbsp;after they had worked together on the video for Lover To Lover, from her&nbsp;previous album Ceremonials.&nbsp;Florence, experiencing a difficult period in her personal life, was already in contact with Holly Blakey. (Behind The Scenes photos by Emma Polley)[imgtoken data:1]How the project started Vince Haycock:&nbsp;The very first thing that you sent me, was you and Holly dancing in her studio, and you said you wanted to do something more personal and dance-based.&nbsp;Florence Welch:&nbsp;Yeah, because in that year - the &#39;car&nbsp;crash&#39; year - I needed a different outlet. I wasn&#39;t performing and I was going through stuff and trying to find different ways to express myself that wasn&#39;t just getting wasted or singing. I felt dance was kind of like being drunk, but without the hangover! [laughs]&nbsp;I was a bit at sea really, and dance was a big anchor.&nbsp;We got together twice a week sometimes. When you&#39;re dancing, you can&#39;t fake it. You&#39;re really going through something.VH: Yeah - a lot of the imagery came from dance. We were trying to figure out how to express these stories in a linear narrative.FW: I&#39;m not very good at staying still anyway. What was frustrating to me in other videos that had big set pieces and costumes, is that I had to stay still! Being in a gown, staying still, looking pretty, wasn&#39;t me.[imgtoken data:2]The album FW: For me, it&rsquo;s the most focused record about a period of time. I wasn&#39;t doing it consciously though. I think it&#39;s because I had that period of time off. Things were happening to me and I would just write it down.I was spending a lot of time in LA, which is why I wanted to shoot there. I was spending a lot of time in the actual hotel room we shot in. And in my house which is in the video too!&nbsp;I didn&#39;t think as I was doing it that that&#39;s what I wanted to do. I was just kind of making things, but musically I wanted something that felt like the sky. I was listening to a lot of music, in LA, driving around with big blue skies everywhere so I wanted something that was warm and big and y&#39;know, blue and.. beautiful [laughs]<blockquote>&quot;I was talking about the purgatory of being stuck somewhere repeating the same pattern,&nbsp;and looking to express that in dance.&quot; - Florence</blockquote>VH: Right when Florence said that she wanted to do dance, while she was still working on the album,&nbsp;I started thinking of that quote from TS Eliot. It&#39;s about being still and dance being the chaos, and it&#39;s beautful.&nbsp;[&quot;<a href="http://www.goodreads.com/quotes/28570-i-said-to-my-soul-be-still-and-wait-without" target="_blank">So the darkness shall be the light, and the stillness the dancing.</a>&quot;]It was kind of my motto at all times that dance was gonna show the emotion.&nbsp;So instead of acting out scenes where she loves someone or someone breaks her heart, she&nbsp;dances to that.[imgtoken data:3]Beginning shooting FW: It&#39;s&nbsp;been really interesting actually because when we did the videos the album was done, the story had already happened. So I didn&#39;t have to write a script, it was more down to Vince to take it and see it through his eyes. That&#39;s so freeing, because it isn&#39;t just mine anymore. Other people are involved, and they will have a different attachment to it as well.It was incredibly cathartic because even in <a href="http://www.promonews.tv/videos/2015/02/16/florence-machine-what-kind-man-vincent-haycock" target="_blank">What Kind of Man</a> I was still super in it, it was really heavy, and after shooting it, I felt incredibly liberated, because I was really thrashing - literally thrashing it out - with myself.<blockquote>&quot;Florence&#39;s songs are very personal, with these fantasies,&nbsp;and that&#39;s what we created in the visuals.&quot; - Vince&nbsp;Haycock</blockquote>Working with Ryan Heffington FW: I&nbsp;went to Ryan&#39;s dance class in LA - called Sweaty Sunday &ndash; it&rsquo;s amazing! And again, the choreography that I&rsquo;m interested in is very much to do with the storytelling and emotion and movement that perhaps you wouldn&#39;t associate with classical dance. Working with him and Holly- they&#39;re both like an emotional sponge. If you tell them the story, it&#39;ll just go in and they&#39;ll reinterpret it physically. It&#39;s a really incredible thing to witness.[imgtoken data:4]An audience member asks a question about the lip-touching movement in Heffington&#39;s choreography in What Kind Of Man...FW: It&#39;s about the things you can&#39;t say, when you have to say goodbye to someone, or you have to tell them you love them and they don&#39;t want to hear it - that&#39;s never happened to me (laughter). It&#39;s like trying to tell someone something really intimate and personal so you&#39;re taking the words and putting it in their mouth, and taking the words they were thinking about and putting it in your mouth. It&#39;s trying to exchange sentiment without talking. To me the guys in the What Kind Of Man video symbolise all these other things as well I was battling with, like the demons in Delilah, like with my other self. It was just about my own demons.&nbsp;&nbsp;Q: How did you choose the songs to make into a video?FW: Well it was quite narrative, wasn&#39;t it? You [Vincent] were&nbsp;a big champion of the little, slow ones which is what was so nice about this. Videos got made for songs that aren&#39;t singles. If you were a label you wouldn&#39;t go &#39;lets make a video for Long And Lost&#39;. I&#39;m very grateful to everyone because we got to do something really special.VH: It was half &#39;this song is an amazing single, lets get this single out&#39; and half &#39;if thats gonna be the third single then lets do this other little bit inbetween&#39;.&nbsp;We did <a href="http://www.promonews.tv/videos/2015/03/27/florence-machine-st-jude-vincent-haycock" target="_blank">St Jude</a> on a whim. We were shooting What Kind Of Man, and we thought, we gotta do St Jude right here. I had my team, Steve Annis and Arrie Robins our camera operator and we just rocked that out. We had a lot of freedom and we just kinda went with it.[imgtoken data:5]The importance of dance FW: We used&nbsp;dance to describe the difficulties in human relationships - people pulling away from each other, or being pulled back by their own internal self that means they can&#39;t be together. They&#39;re being pulled apart all the time. We were looking at the fragility of relationships, and it was symbolic of a lot of that stuff. I was obsessed with Pina Bausch and this amazing piece where people keep getting dropped all the time.. the repetition. And I was talking about the purgatory of being stuck somewhere repeating the same pattern, and looking to express that in dance.The What Kind of Man was more about relationships, perhaps, and Delilah was a lot about my relationships with myself and those other demons that weren&#39;t related to Love. That&rsquo;s why I think that became more about me,&nbsp;trying to figure that out.<blockquote>&quot;I was going deeper and deeper into the darker places,&nbsp;and when you get to Delilah you&#39;re in the darkest zone.&quot; - Florence</blockquote>Delilah FW:&nbsp;With each video it was as if I was going deeper and deeper into the darker places,&nbsp;and I think when you get to <a href="http://www.promonews.tv/videos/2015/10/26/florence-machine-delilah-vincent-haycock" target="_blank">Delilah</a> you&#39;re in the darkest zone.VH (about the demon on Florence&#39;s chest, recreated from the painting The Nightmare by Fuseli):&nbsp;We borrowed the imagery to represent... well, the same stuff that&#39;s represented in those paintings. We stole from historic paintings just to give the viewer the idea that there&#39;s this big weight on her chest.Florence&#39;s songs are very personal, with these fantasies,&nbsp;and that&#39;s what we created in the visuals. They all relate to her in different ways - like in Delilah there&#39;s this over-version of herself following her around, and at the end of that she kills that version off. She sheds those layers of demons.[imgtoken data:6]The artist/director relationship AG Rojas:&nbsp;I think that as filmmakers we look at this and get jealous because it&#39;s the filmmaker&#39;s dream being able to grab an artist who makes sophisticated music and are able to create this story out of it. Could you talk a bit about the level of trust that was developed through the videos beforehand?VH:&nbsp;For me, when I first started doing videos, I would see guys like Jonathan Glazer and Radiohead doing loads of videos together and be like &#39;fuck, if I could just find an artist that believes in me as much as I believe in them&#39;. And when we started working together it just started happening like that. I still kind of can&#39;t believe we did it. It wasn&#39;t fully planned out, I didn&#39;t write it ahead of time and get it approved.<blockquote>&quot;I would see guys like Glazer and Radiohead doing videos and be like: &#39;If I could just find an artist that believes in me as much as I believe in them&#39;.&quot; Vince Haycock</blockquote>FW: [The label]&nbsp;were so supportive and that&#39;s really incredible and I think quite rare. There were definitely a few nervous emails being sent at some point. I think once everyone is on board, everyone wanted to see the end.&nbsp;It felt like a dream made reality.&nbsp;I still can&#39;t quite believe we did it.Because it has been such a long process - we didn&#39;t have to do these all in one go and as my life was changing the videos were always came at really opportune moments. So it was an actual journey, and as the videos evolved I was changing too. When we got to Third Eye, the last one, I was just in a completely different space. I&#39;d gone all the way down and all the way back out again.[imgtoken data:7]&nbsp;

Florence and Vince Haycock on The Odyssey: "We were looking at the fragility of relationships."

Florence has come out the other side of the wreckage. For the&nbsp;final chapter of The Odyssey, the film project created to&nbsp;accompany her album How Big How Blue How Beautiful&nbsp;- and also <a href="http://florenceandthemachine.net/" target="_blank">now available to view in full</a>&nbsp;- Florence and Vincent Haycock have&nbsp;come up with a forward-looking&nbsp;finale.The chapter to accompany Third Eye&nbsp;begins&nbsp;on an image of Florence being carried away from fiery rubble, and this revisits many of the themes from the previous chapters one last&nbsp;time. But Florence is now untethered to the demons that had followed her up till now.&nbsp;The video is just a great closing statement -&nbsp;life-affirming and filled with cheer. It&nbsp;takes place at&nbsp;nighttime&nbsp;on the street&nbsp;in front of a dazzling&nbsp;concert hall,&nbsp;where we follow Florence down&nbsp;into the depths of the&nbsp;basement.&nbsp;There,&nbsp;she&nbsp;gets swarmed by dancers&nbsp;once again, in a scene that&nbsp;is highly reminiscent of What Kind Of Man and Delilah.&nbsp;But quickly the tone quickly turns lively and reverent, and then poignant when&nbsp;Florence is led by a musician&nbsp;back onto the&nbsp;stage.

Jackie Kelman Bisbee

Anne Bobroff

Luv Management

Universal

Bob Brimson

Courtney Davies

Peter Keith

Ari Robbins

George Nessis

Matt Milan

Jeremy Hartman

Robby Heart

Joseph Canon

Chess Pettengill

Drew Valenti

Chris Bauer

Jay Hougaard

Nicolas Kelley

Kevianno Guerrero

Bailey Bute

Holly Blakey

Paul Yacono

Natasha Newman Thomas

Indie pop

Indie Rock

Florence + The Machine 'Third Eye' by Vincent Haycock

Florence + The Machine - Third Eye (The Odyssey – Chapter 9)

Florence Welch faces her final&nbsp;demons - as well as an actual demon - in this&nbsp;intense video&nbsp;for&nbsp;Delilah, chapter six of the&nbsp;How Big, How Blue, How Beautiful&nbsp;odyssey by Vincent Haycock.&nbsp;It follows&nbsp;<a href="http://www.promonews.tv/videos/2015/02/16/florence-machine-what-kind-man-vincent-haycock" target="_blank">What Kind Of Man</a>, <a href="http://www.promonews.tv/videos/2015/03/27/florence-machine-st-jude-vincent-haycock" target="_blank">St. Jude</a>, <a href="http://www.promonews.tv/videos/2015/04/15/florence-machine-ship-wreck-vincent-haycock" target="_blank">Ship To Wreck</a>, <a href="http://www.promonews.tv/videos/2015/07/31/florence-machine-queen-peace-and-long-lost-vincent-haycock" target="_blank">Queen of Peace and&nbsp;Long &amp; Lost</a>, and sees a Florence at the epicentre of spiritual&nbsp;chaos,&nbsp;playing out with expected dramatic&nbsp;furor in a filmically&nbsp;drab motel.The video starts out with a scene&nbsp;in the motel&#39;s reception as&nbsp;Florence listens&nbsp;to a preacher&#39;s counsel concerning&nbsp;her loss of faith. Soon after, she enters&nbsp;a&nbsp;vortex of religious symbolism,&nbsp;characterised by painterly compositions&nbsp;reminiscent&nbsp;of baroque&nbsp;paintings alongside sequences of&nbsp;what appear to be&nbsp;cult members&nbsp;in&nbsp;writhing prayer.The video mirrors elements we&#39;ve seen previously, such as the&nbsp;confrontational&nbsp;mob,&nbsp;the frenzied dance sequences&nbsp;and doubled&nbsp;Florences.&nbsp;However,&nbsp;Delilah is&nbsp;also full of thrilling and unexpected&nbsp;imagery&nbsp;such as a nightmarish vision&nbsp;of a&nbsp;demon looming over her sleep - inspired by gothic masterpiece <a href="https://en.wikipedia.org/wiki/The_Nightmare" target="_blank">The Nightmare</a> &ndash;&nbsp;and the unveiling of Florence&#39;s double as someone else, someone who is not really her.&nbsp;&nbsp;&nbsp;

Mary Ann Marino

Brian Freesh

Robby Hart

Cristy “Neo” Arboleda

Bram Weinkselbaum

Kenny Taylor

Matt Thomas

Tony Gardner

Nikki Providence

Lisa Aharon

Veronica Lane

Kai Morrison

Tom Paolantonio

Brian Kahovec

Emma Holley

Michael Beaudry

Soul

Florence + The Machine 'Delilah' by Vincent Haycock

Florence + The Machine - Delilah (The Odyssey – Chapter 6)

Frequent Florence + the Machine collaborator Vincent Haycock, who&nbsp;previously helmed the initial chapters of&nbsp;How Big How Blue How Beautiful&nbsp;series - including&nbsp;<a href="http://www.promonews.tv/videos/2015/03/27/florence-machine-st-jude-vincent-haycock" target="_blank">St. Jude</a>,&nbsp;<a href="http://www.promonews.tv/videos/2015/02/16/florence-machine-what-kind-man-vincent-haycock" style="text-decoration: underline; outline: 0px;" target="_blank">What Kind of Man</a>&nbsp;and&nbsp;<a href="http://www.promonews.tv/videos/2015/04/15/florence-machine-ship-wreck-vincent-haycock" target="_blank">Ship to Wreck</a>&nbsp;- captivates us with this ten-minute piece&nbsp;featuring the tracks&nbsp;Queen of Peace and Long And Lost.&nbsp;The&nbsp;short&nbsp;film&nbsp;feels&nbsp;part of&nbsp;the same world&nbsp;Haycock and Welch&rsquo;s have created for&nbsp;The Odyssey series, although it was shot in&nbsp;Scotland&rsquo;s lush Isle of Easdale.&nbsp;This consistency is due in part to the continued&nbsp;exploration of conflict through contemporary dance employed&nbsp;to express each&nbsp;facet of the story.In&nbsp;previous videos,&nbsp;Welch is seen fighting against the painful dissolution of a relationship&nbsp;and what is left of herself afterwards, but this new proposition takes&nbsp;us back into her past, during her&nbsp;formative experiences as a child. The drama depicts the&nbsp;clash of a youthful Welch&rsquo;s compassion against the violent feuding around her. The raw emotional performance of Welch is artfully set against the&nbsp;striking winter landscapes of Scotland.The Odyssey is&nbsp;set to cover all tracks in the album through this year and into&nbsp;2016, and will culminate in a long, chaptered musical film.&nbsp;

Nick Goldsmith

Stephen Brierley

Ted Mitchell

Arnold Ramm

Bob Brimson, Natalia Maus

Island Records UK

Tabitha Denholm

Sarah Drummond

Jennifer Barrie

Ryan Heffington

Paul Donnelly

Kevin Kim

Paul McKee

Indie, singer-songwriter

Alternative Pop

Florence + The Machine 'Queen Of Peace' and 'Long & Lost' by Vincent Haycock

Florence-+-The-Machine-'Queen-Of-Peace-And-Long-&-Lost'-by-Vincent-Haycock

Vincent Haycock has directed this understated yet quietly powerful short film for the U2 track Song For Someone, starring Woody Harrelson as a prisoner who is being released from the relative security of jail after years of incarceration,&nbsp;back into the&nbsp;outside world.With camerawork by Steve Annis, the core of the video is a single shot of&nbsp;the increasingly emotional Harrelson leaving the confines of prison, passing through the gate and meeting the person who&#39;s there to take him away - his daughter (played by the actor&#39;s real-life daughter, Zoe Harrelson), who greets him with an awkward handshake, and monosyllibic responses to his tentative comments.&nbsp;&nbsp;It&#39;s subtly played, and fully believable. Premiered on <a href="http://www.sundance.tv/series/rectify/blog/2015/07/watch-the-full-short-film-song-for-someone-featuring-music-by-u2-starring-woody-harrelson" target="_blank">Sundance TV</a>,&nbsp;Vince Haycock&#39;s film thematically links to RECTIFY, SundanceTV&rsquo;s Peabody award-winning series that follows the story of Daniel Holden and his family as they struggle to move forward after Daniel&rsquo;s release from 19 years on death row.&nbsp;

Pete Vitale

Steve Wong

Terry Wolcott

Ryan McGuire

Rick Lange

Cue Chatley

Nic Kelley

Perry Pascual

Natasha Newman-Thomas

Brenna Bash

Richard Mento

Chris Gutierrez

Chris Lennon

Tom Bird

Natalia Maus

Island Records

Mainline

U2 'Song For Someone' by Vincent Haycock

U2 - Song For Someone

The tempestuous&nbsp;Florence Welch and director Vincent Haycock are back with a new instalment in a&nbsp;series of videos for her upcoming album How Big, How Blue, How Beautiful, and once again&nbsp;reality transforms into something far more theatrical,&nbsp;as Florence is caught in an intense struggle with her self-destructive alter-ego. Acting up like a monstrous tantrum-throwing&nbsp;inner child, this alternative Florence is played by&nbsp;Deena Thompson, who also featured Welch and Haycock&#39;s lovely video for&nbsp;<a href="https://vimeo.com/123356471">St Jude</a>.&nbsp;For Ship To Wreck,&nbsp;the setting moves to London, but the visual style and themes established in the previous videos remains -&nbsp;flowing camerawork, passionate relationships evoked through drama and modern dance.This has a&nbsp;stronger&nbsp;focus&nbsp;on Florence&#39;s personal demons, shot through with wry humour, as she storms through life in a&nbsp;flurry of violent outbursts and&nbsp;sleeping pills...

Vincent Haycock

Director

Interviews featuring Vincent Haycock

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