Blink

Director

Will Hooper

<h3>London-based production company Blink's association with Sad Night Dynamite began before any of the Somerset alt-pop duo's&nbsp;music was released. Blink director Will Hooper was sent tracks from what would become the pair's first mixtape - and that was the start of a beautiful friendship.&nbsp;</h3>With its eclectic mix of musical styles - hiphop, dub, electronica, alt-pop and more - the wittily subversive and unsettling character of Sad Night Dynamite's music has certainly provided inspiration for a number of directors. But the relationship between the band's Archie Blagden and Josh Greacen and Blink - with directors Will Hooper and Lucas Hrubizna in particular - has been especially influential, spanning their career to date.After two SND collections - Sad Night Dynamite and Volume II - where Hooper and&nbsp;Hrubizna made vital visual contributions - the latter winning a UKMVA last year in the process - Hooper has been providing creative direction and direction on the first releases from the band's third collection of songs&nbsp;- including directing the video for first single Sick Of Your Sound (above), featuring a cartoonishly brutal street fight between Blagden and Greacen.Ahead of the release of an ambitious animated video for the next SND single - directed by Balázs Simon at Blink's sister company Blinkink - we talked to Hooper and Hrubizna, looking back at the work which has done the hard yards in establishing Sad Night Dynamite's imaginative&nbsp;visual world.&nbsp;&nbsp;&nbsp; &nbsp; &nbsp;&nbsp;SAD NIGHT DYNAMITE&nbsp;(SND 001) - Director: Will Hooper[vidtoken data:0]<blockquote>Visually at this stage they had nothing. I was tasked with making that nothing, something.</blockquote>How did you come up with the idea for the video for (Sad Night Dynamite: Album)?WH: This project was the first time I was introduced to SND. I was given a handful of demos, a few WIP future singles and some instrumental works that would ultimately make up the mixtape that we made a movie for. It painted a pretty exciting picture of what they wanted to do and it was an instant 'woah' from me.The music was raw and intelligent and unusual. I remembered being floored by an early demo of Icy Violence and Smoke Hole (which used to be called Choke Hold, fyi).Visually at this stage they had nothing - and I was tasked with making that nothing, something. The process started by me putting together lots and lots of scratchy ideas and visual prompts that are essentially a reflex to things sonically - I usually try to do this for most things I write. A lot of these ideas were L’s, which is to be expected. But a few really resonated with the guys and they became quite attached to the idea of having a range of visuals that on paper shouldn’t really work together, but finding strange threads and atmospheric links between them.[imgtoken data:1]Ear we go: Will Hooper (above) and friends. "I was given a handful of SND demos... and it was an instant 'woah' from me."&nbsp;What was your process of making the video, And the most memorable aspect of the production?WH: There’s nothing better than making a movie abroad with your mates, and that is exactly what we were lucky enough to do for this. Somehow mega-angel producer Rosie Brear and mega-angel EP Laura Northover managed to wrangle the budget in a way so that we could go out to Prague to shoot it. The rural backdrop of the Czech Republic brought so much to the film. Likewise&nbsp;the crazy talented local crew that we worked with, particularly DOP sorceress Igor Smitka - he’s honestly the best.There’s something to be said about working in a completely foreign setting. The way you look at it is different to when you have a sense of familiarity present - I find that anyway. I get complacent here in the UK and definitely don’t always notice the potential of some things. So yes, being in Prague shooting, which was the first time I’d been abroad to work unlocked another rung on the ladder. A rung of power.My most memorable part of that shoot was getting a local farmer to literally dig us a six foot grave to shoot the funeral scene because it was cheaper to do that than build a piece of set and faking it. MOUNTAIN JACK - Dir: Will Hooper[vidtoken data:1]<blockquote>My terms were that 'we must build a giant mouth'.</blockquote>How did you come up with the idea for the video for Mountain Jack?&nbsp;I’ve always wanted to shoot a music video in a mouth and have attempted (and failed) to pitch it on other things in the past. So when Josh and Archie messaged me asking if I’d do another music video for them I replied “yes” but my terms were that “we must build a giant mouth”. Which was met with an “ok”.And whilst we didn’t have the budget to make the giant mouth set of my dreams, we enlisted production designer legend Laura Little, who ended up designing such a cool deconstructed, abstract version of a mouth. “The Chaos Mouth” we called it.[imgtoken data:2]Above: On set of Mountain Jack. "Laura Little&nbsp;ended up designing such a cool deconstructed, abstract version of a mouth."What was your process of making the video, And the most memorable aspect of the production?The main intention of this vid was to do some more “traditional” performance stuff with SND, which was fun because I’d not done that with them yet. So that set and the performance within it became the central pillar for the rest of visuals in that vid - which was deep dive of all things mouth. Lots of lo-fi silliness, more weird camera rigs, lots of Josh gagging on endoscopes that I put down his throat.VOLUME II - Dir:&nbsp;Lucas Hrubizna[vidtoken data:2]<blockquote>We had to develop a way to shoot all seven locations in London without me being physically present.</blockquote>How did you come up with the idea for the project for Volume II?LH: For Volume II, SND came to us with a challenge: rather than producing a traditional music video for an individual track, we were to create a series of distinct pieces for each song on the album that were visually unique, but strung together with a thread that would tie them into a common universe.The conceptual basis for the album was a near-death experience that one of the band members had faced, and visually representing the idea of being stuck in a purgatorial environment - somewhere between life and death - was something that really resonated with them.I started to consider the seven levels of Danté's Purgatorio, and used them as a loose structure to imagine an equal number of unnerving abandoned spaces from present-day. Disused petrol stations, dead malls and empty waiting rooms became analogues for the terraces in Danté's myth.[imgtoken data:3]Above: Lucas Hrubizna. "Being stuck in a purgatorial environment - somewhere between life and death - was something that really resonated with them."What was your process of making the project? And the most memorable aspect of the production?LH: Because I was stuck in Canada under COVID restrictions at the time of production, we had to develop a way to shoot all seven locations in London without me being physically present, which would have been a challenge even if I was on the ground, given the tight budget and timeline involved.We found a solution in the volumetric capture stage at Dimension Studios, which allowed me to remotely direct performances by SND inside a huge array of cameras. The data from the cameras, all mounted at different angles, was fed into software that generated full three-dimensional animated models which I could then build environments around at home in Toronto.[imgtoken data:4]Above: Volume II's greenscreen shoot. "The sensation of becoming a disembodied voice on an actual working film set an entire ocean away was just plain bizarre."Lighting, camera movement and blocking were all developed virtually on my end, so most of the directing work actually ended up taking place in post-production where I took a sort of sculptural approach to building the project, picking away at the scenes and experimenting technically along the way to discover interesting images.This was my first major production with Blink, and I will always remember the strange feeling of sitting in the dark in my home office at 2 o’clock in the morning Toronto time, watching crew scurry around the set over Zoom as I issued directions to my surrogate AD. The sensation of becoming a disembodied voice on an actual working film set an entire ocean away was just plain bizarre.SICK OF YOUR SOUND - Dir: Will Hooper[vidtoken data:3]<blockquote>In a group chat riddled with their voice notes...&nbsp;I wrote about being so sick of listening to them that I wanted to kill them.</blockquote>How did you come up with the idea for the video for Sick of Your Sound?WH: I’ve been helping the guys with some general creative direction for the very very delicious new wave of tracks that they’ve been working on. We’d commissioned a vid for another of their tracks that’s being made by good friend and fellow Blink director Balázs Simon. The video in question is completely ridiculous. Live action, 3D environments, animation and a coked-up two-headed testosterone monster with tentacles made out of flesh and tech and amniotic fluid… Balázs has been 'no-lifing' it for ages to get it finished - and holyyyy heck wait till you see it! The guy is a genius.However! Issue!!!! The vid is so crazy crazy ambitious it had basically gobbled up nearly all the budget for their vids, and they wanted a couple to put out. Cue me ( •͡˘ _•͡˘)ノWhen the guys went on tour SOYS did&nbsp;super well and when they got back there was a bit of a flap to get something out for it ASAP. Which meant the lead up to making this movie was pretty go-go-gadget mode. We had no money and no time, which if you work in music videos, is the case 99.9% of the time.[imgtoken data:5]Above: On set of the Sick Of Your Sound shoot - Will Hooper (yellow hood), DoP Natasha Dursmaa (third left) and crew with Josh and Archie of Sad Night Dynamite&nbsp;&nbsp;So writing ideas for this track ended up being quite knee jerk and immediate. And there is something to be said when writing this way - not overthinking it (because you can’t) and trusting in your guttural response to something.In a group chat that is riddled with voice notes of ideas and thoughts for the video from Josh and Archie, I wrote about being so sick of listening to them that I wanted to kill them both. Which was the thing that prompted the idea.. That idea eventually evolved into the two of them killing each other on camera a la Homer and Bart Simpson until their heads exploded. Job done.What was your process of making the video?&nbsp; And the most memorable aspect of the production?&nbsp;As I already mentioned, we had lil money and lil time, so this was pulled together very quickly by producer/ ain character Jack Bingham and the lovelies at Blink. We pulled in a bunch of favours and luckily got crewed up with a pretty serious team of legends. The approach was lo-fi but ambitious. We had some stunt choreo, some SFX head explosions, lots of silly camera rigs, crowd scenes, multiple formats, etc.A few days before the main shoot day I ran around - just me and the band shooting a load of B-roll and teaser stuff on DV using this ShittyRig™ that I built that has two prosthetic hands fixed to the camera - a sort of Michael Powell’s&nbsp;Peeping Tom&nbsp;setup.[imgtoken data:6]Above: The result of the explosive finale of Sick Of Your Sound video shoot.<blockquote>The most lol part of the shoot was definitely the exploding heads that Machine Shop arranged for us.</blockquote>We used a bit of that day to rehearse some performance stuff too, blocking out some of the moments in the vid. It’s rare to be afforded the gift of rehearsing for a music, but it is such a luxury when it does happen, especially one that can occur on location and has the potential to yield footage that could end up in the movie (which is what happened). Very epic.We shot in a flyover just off Canary Wharf. There isn’t a crazy amount of footfall there which made it very helpful for us to control the space. As you can see from the vid there is some pretty physical and aggressive performance from the&nbsp;guys throughout, so being not in and amongst the great British public made it easier to carry out.[vidtoken data:4]The shoot was crazy fun, running around in quite a guerilla and spontaneous way. DOP &amp; Queen Natasha Duursma made not a lot look like a lot.The most lol part of the shoot was definitely the exploding heads that Machine Shop somehow arranged for us. Despite our efforts to make sure everyone was at a safe distance, the blast radius was so mega that my jeans looked like they belonged to Patrick Bateman. And still do :(• Will Hooper and Lucas Hrubizna are directors at Blink&nbsp;

Lucas Hrubizna

Get a grip! How Blink push boundaries and push buttons with Sad Night Dynamite

Sad-Night-Dynamite--'Sad-Night-Dynamite-'-by-Will-Hooper

Sad Night Dynamite - Mountain Jack (Official Music Video)

SND003 - Volume II

Sad Night Dynamite - Sick of Your Sound (Official Video)

SND_BTS_Graded

Declan McKenna is back - and also back&nbsp;with regular collaborator Will Hooper to make a characteristically lighthearted and&nbsp;offbeat video for Sympathy, with Declan on a deserted sandy beach in the company of a piano, a metal detector, and some odd-looking seagulls.&nbsp;Reuniting the creative relationship&nbsp;that brought the brilliant visuals for <a href="https://www.promonews.tv/videos/2020/04/16/declan-mckenna-key-life-earth-will-hooper/64352">The Key To Life On Earth</a>&nbsp;and <a href="https://www.promonews.tv/videos/2020/01/31/declan-mckenna-beautiful-faces-will-hooper/63032">Beautiful Faces</a>, the video features a dreamlike narrative in a breezy beachside setting.&nbsp;Cue puppet seagulls, googly eyed-guitars and a metal detector narrative, all merging to form a trippy, hallucinatory seaside experience.[imgtoken data:1]Most crucially, it's the uplifting presence of Declan McKenna himself - as twinkly-eyed and energetic as he was when he burst onto the music scene a few years ago - but arguably with a bit more knowing&nbsp;maturity. He brings all of his A-game charm and charisma to this one.Safe to say that his and Will Hooper's creative relationship has resumed in brilliant&nbsp;fashion.&nbsp;They&nbsp;have delivered here, and then some. It's a&nbsp;very enjoyable addition to a growing canon of highly entertaining videos by the pair.[imgtoken data:2]&nbsp;

United Kingdom

Louis Simonon

Tara Sadeghi

Michael Lewin

Charlie

Natasha Duursma

Patrick Craig

James Robertson

Josh Goldman Jacob

Oliver Bingham

Jack Plumbridge

Tomomi Kishimoto-Eley

Sam Allen

Richard Fearon

The Mill

Mouthpiece

Digital Orchard

Black Kite Studios

Indie

Singer songwriter

Declan McKenna 'Sympathy' by Will Hooper

Declan McKenna - Sympathy (Official Video)

Will Hooper continues his creative partnership with Sad Night Dynamite&nbsp;by directing the riotous video for the first single of their latest campaign - with SND's Josh and Archie as worker drone-enemies who meet in the street... and then it all kicks off.The Sick Of Your Sound video a frantic montage of POV rage, as we see the boys perform as they try and choke each other out, attracting an audience of curious onlookers. It's nasty, and we should not watch... yet we must.&nbsp;Because it's funny and an appropriately aggressive way to visualize this bad banger of a track.Reddened faces, watering eyes, nose’s bleeding, veins bulging... balancing a surreal, uncanny vibe with violent, bloody brilliance, it's an ugly yet satisfying watch. And a sign of great things to come.&nbsp;[imgtoken data:1]

Suzie Walsh

Jack Bingham

Sam Seager

Paul Weston

Alasdair Baines

Caleb Johnson

Chrissy Hutton

Mathilda Mace

Eden Read

Assembly Rooms

Machine Shop

Elektra Records

Alternative

Sad Night Dynamite 'Sick Of Your Sound' by Will Hooper

Raman Djafari combines live action and animation to brilliant effect in the extraordinary new video for the brilliant Ashnikko - creating&nbsp;a Mad Max-esque dystopian landscape to transform the pop star into a monster truck-wielding hero, fighting off robot overlords as she navigates a strange new world.In an intense bombardment of visual imagination, Djafari fuses his signature aesthetic of texturally rich CGI with the unhinged, transgressive ambitions of Ashnikko, to create a wonderful, weird, high-octane action movie.&nbsp;[imgtoken data:1]The influences on the video range from painters Bruegel and&nbsp;Carravagio, to Bjork, to&nbsp;90s animes like Neon Genesis Evangelion - but you really have to watch on repeat to catch everything that is going on.Djafari worked closely with Ashnikko and her creative director Vassu Vu in conceptualising the video for Worms - which takes the distinctive style of his&nbsp;previous work -&nbsp;such as his massively successful video for Elton John and Dua Lipa's Cold Heart - into a whole new dimension.[imgtoken data:2]"I wanted to create a vast world that stretches way beyond the bounds of this one music video, like there's an abundance of stories waiting to be told," says Djafari.&nbsp;"I indulged my love for creature design and developed dozens of individual characters, monsters, robots and a huge monster truck. It was important to me to bring the world around this album to life, with a richness that reflects the depth of the music and lyrics.[imgtoken data:3]"Working with Ash and Vasso was a truly precious collaboration between artists - they supported and trusted my personal interpretation of the universe they created together. Looking back, I wish I could have spent more time in this world. I feel like this video barely scratches the surface of what I would love to create together with Ashnikko."Fingers crossed we'll get another chance to collaborate in the future.” &nbsp;

Raman Djafari

Jake River Parker

Blinkink

Josef Byrne

Alex Halley

Molly Turner

Rowan Mackintosh King

Vasso Vu

Julia Pavliuk

Hunter Daly

Rupert Hornstein

Nicola Braid

Tanmoye Khan

Laurent Arnaud

John Malcolm Moore

Laura Little

Holly Wood

Claire Moore

Mee Kyung Kim Porter

Georgia Olive

Rich Woolway

George Neave

Coffee & TV

Rich Martin

Ashnikko 'Worms' by Raman Djafari

Ashnikko_Worms_credits

<h3>We spoke to Will Hooper and Max McLachlan about why turning Bally Gill into a cactus in their UKMVA-nominated video for funk band Franc Moody was just part of a bigger masterplan.</h3>&nbsp;Will Hooper and Max McLachlan have made much more than a music video for Franc Moody's new release. The pair&nbsp;have pretty much created a world to accompany the main single from the acclaimed London funk outfit's third album, Into The Ether.&nbsp;And a very strange world it is too.&nbsp;The project centres on the music video that Hooper (above left)&nbsp;and McLachlan (right) co-directed for the single Raining In LA - a comic-horror piece with very surreal overtones, in which a businessman in need of a holiday, takes a trip organised by the mysterious travel agency named FM Travel. It turns out he is heading to a barren desert&nbsp;- where he will undergo a remarkable&nbsp;transformation: metamorphising into a cactus. Prickles and everything.[vidtoken data:0]Starring Bally Gill (Sherwood,&nbsp;Slow Horses, RSC's&nbsp;Romeo &amp; Juliet)&nbsp;the Raining In LA video&nbsp;is the centrepiece of a collection of films to support the song and the album. It also includes an 'infomercial' for the sinister FM Travel, featuring the band led by&nbsp;Ned Franc and Jon Moody as shifty salespeople, pushing the FM dream - included as part of the Raining In LA promo; the video for I'm In A Funk where a manic&nbsp;individual (Charles Timpson)&nbsp;distributes FM Travel flyers among the bemused public in a London neighbourhood; the visualiser for In Transit, also featuring Franc and Moody as the wheeler-dealer travel agents.[vidtoken data:1]This is also the first time that Hooper and McLachlan have worked on a project together as co-directors. Will Hooper has built his reputation since signing to Blink in 2018&nbsp;with his videos for IDLES, Declan McKenna, Rag 'n Bone Man, Dua Lipa and others, and is now usually busy making commercials. By contrast, McLachlan is an up and coming talent, busy working on promos for the likes of&nbsp;Ibibio Sound Machine, Naima Bock, Girli and October and The Eyes.So we spoke to the two directors about how the Franc Moody project and their collaboration came together.[imgtoken data:1]<blockquote>From the beginning the imagery of a journey into the desert was crucial to the band.</blockquote>PROMONEWS: How did the project begin for you? What were the label and band looking for?&nbsp;WILL: Quite a long time ago actually - way back in October of last year. The band’s management reached out to myself and Laura [Northover] at Blink. They sent us a few early mixes for a handful of songs that would feature on their next record&nbsp;Into The Ether, and straight away I could sniff the delicious promise in the tracks. They were really good and I was immediately interested.We then got an epic conceptual breakdown of the whole album that they’d carefully put together for us, with a little breakdown of each track individually. This was incredibly useful to form a total picture of what the album was trying to tell everyone. They also told us they wanted to shoot in the desert. That was very important to them as so much of the record is inspired by the vast expanse of the desert.So I bought some Factor 50 and met the band, bringing with me a rucksack full of initial ideas to chat them through, mainly to see if anything tickled their fancy. It’s always a stab in the dark at this stage, so I always enjoy over-egging the pudding a bit&nbsp;and write far too many ideas than I should…[imgtoken data:2]Above: Will Hooper (left) and Max McLachlan in the offices of FM TravelWhen (and how) did you two decide to work together on the project?WILL: As the job was brought to us super-early in their album campaign launch, it ended up being one of those ones that drags out quite a bit - which ultimately is epic as you have actually have time to think about stuff and develop stuff, which is very rare to be afforded in music videos.At one stage in this long process however, I was looking a bit silly busy juggling a few commercial jobs and we decided that we needed an extra mind and pair of hands to do a bit of the leg work. We couldn’t find one of those so we got Max in.I jest. Max has been a long time friend of mine and someone who’s work I greatly admire. So we were super lucky that he’d agreed to come onto this job and co-direct it with me. [imgtoken data:3]<blockquote>Ideas came from&nbsp;Mormon educational adverts, Looney Tunes, and ancient internet videos.</blockquote>MAX: Franc Moody were magnetically drawn to Will’s unique and grubby genius - as was I when I first found out about Blink. After I started running there and got to know him, we discovered we had the same disgraceful taste.I’ve been lucky enough to assist Will with some jobs. And when he became really busy with commercial work we spoke about me coming on board and diving into the deep end of the sand-filled world that Will was already forming for Franc Moody’s album.Will had already created a bank of desert and office-laced imagery for each track. Then when we sat down we began to tie it all together and build a world we were excited to make real. From there it was pretty organic. I've definitely learnt a lot but luckily at every new stage our creative approach together came naturally.WILL: Max brought so much of his genius to it. He probably made the movie at least 69 times better than if I had not forced him to do it.[imgtoken data:4]Above: Hooper (centre) and McLachlan (right) with DoP Carlos Feher,&nbsp;on location in the&nbsp;Tabernas Desert.&nbsp;<blockquote>We found ourselves out in the harshest desert Spain had to offer...&nbsp;</blockquote>How much material have you created for the album, and how would you describe it, in terms of the ideas it’s exploring, and its relationship to the band and their new music?WILL: It’s funny, this project has been going on for quite some time, [so] I feel like we forget how much has even been created for the album.The core of our project was always the Raining In LA video. So most of the other content acts to expand the world, or create crumbs leading to that video, which hopefully gives more context to the previous work.MAX: Throughout the project we knew we had to balance the strange tone we wanted to create, and the themes of self-discovery, with the utter funkiness and groove of their music. We wanted to make sure it always had a sense of fun and energy&nbsp;that didn’t strip away any of the pure danceability of the tracks.[imgtoken data:5]<blockquote>Anna Kennedy... said the two words that changed our lives: BALLY and GILL.</blockquote>The tone is quirky and surreal to the point of being unsettling - and arguably quite a sobering message. What were your main reference points?&nbsp;WILL: David Lynch was a crucial reference from the very beginning. There was never anything specific from one of his films we wanted to draw from, but the tone he creates is perfect. The malaise of his movies which allows you to laugh at the oddity of them while still forcing you to keep your wits about you at all times.MAX: As far as specific ideas we drew from, they came from Mormon educational adverts, Looney Tunes, and ancient internet videos - which is the only way we can communicate.How did you come up with the concept of FM Travel, and what is its significance in the whole project? How does this reflect what Franc Moody are about?WILL: The album is an exploration of self-discovery, and from the beginning the imagery of a journey into the desert was crucial to the band. However, we were worried about making a 'go to the desert and you’ll find yourself'&nbsp;movie that sells cheap answers and false hopes, inadvertently promoting a ‘move into a luxury RV in the desert with a pug called Petunia and you’ll never feel sad again!!’ Instagram-lifestyle.[imgtoken data:6]Above: Bally Gill prepares to become full cactus, hands-first.Instead we decided to flip it on its head and focus on someone having been sold a dream journey of self-discovery, only to be left stranded with more confusion in place of answers. Thus our dream journey salesmen/hucksters, aka FM Travel, was born. Once we started to discuss why they would want to trap people in the desert, we delved deeper and deeper into the rabbit hole of the lore.The centrepiece is Raining In LA, where a man’s dream holiday turns out to be a one-way trip to the desert. Where did you shoot it and what were the main challenges of the shoot?MAX: We looked at a lot of deserts. Big ones, small ones, skinny ones. And when we got the recce pics through from the Spanish contact we were talking to it was a stop in tracks moment for us and we knew [the Tabernas Desert, in South-Eastern Spain] was the&nbsp;one. It wasn’t immediately the easiest location to service however, but the setting was so important to our story, that we found ways to make it work.So yes, we found ourselves out in the harshest desert Spain had to offer, our skin frying in the rays of the Tabernas sun. It was hot, it was sweaty, it had few toilets... [but] it was amazing.WILL: Naturally it’s difficult to film in the middle of nowhere, there’s hardly access to a nearby Argos if you forget anything, let alone figuring out getting anything out there in the first place. Massive respects and honour must be paid to the one and only Laura Northover who mastered riding the treacherous, gnarly dunes with a rented minivan…[imgtoken data:7]How did you cast award-winning actor Bally Gill in the role of the hapless traveller? Was it a difficult makeup job turning him into a plant?MAX: We were crazy lucky to have a hand from the casting legend, Anna Kennedy. She saw a list of actors we had created who we thought would be of the right sort of vibe, and she said the two words that changed our lives: BALLY and GILL.As soon as we saw his reel we knew he could bring the goods and my god did he deliver. I can’t believe he was told “can you become a cactus for these two human worms for a music video?” and he said “get me on that plane”.After he came out of that make-up chair with sticks on his green-painted face, fear boiling in his eyes, you knew it couldn’t have been anyone other than Bally Gill.[imgtoken data:8]Above: Art dept assistant Ricardo Leon and production manager Ana Gamiz&nbsp;prepare the cactus for final shot of Raining In LAWhat's the story about the guy in the I'm In A Funk visual trying to hand out FM Travel flyers? And when and where did you shoot that video? M: When Will started the project, he threw out a blast of bizarre and distinct desert visuals for the band to chew on; the image of a man wandering with a plastic bag constantly pouring out sand really stuck with them. Once we got deeper into the project together we started to discuss what this could add to the world we were building. We already knew we wanted our main character in Raining In LA to have been drawn in by a flyer, so it dawned on us this mystery man could be a FM Travel employee, sent from the desert on a mission to lure people.[vidtoken data:2]We decided the plastic sand bag was a sand timer, counting down the clock before he is banished back to the desert realm. Then it was just a matter of finding the right guy and running around Peckham with him, and boy oh boy did we find thee guy in Charles Timpson.How did you organise the production, in terms of shooting what, and when?&nbsp;WILL: We didn’t organise a single thing. We are hopeless. Endless &lt;3s and praise goes to producer Rosie Brear for her tireless and resolute work on this job. The amount of deliverables and deadlines and moving parts was a headache that our tiny brains could not comprehend. Rosie has a galaxy brain and made the impossible happen with this. What a clever and talented and lovely egg she is.<blockquote>Rumours are the band have created nether-realm version of ourselves called Mill and Wax...</blockquote>Is there anything else coming out? And if so what can we expect?MAX: The sand-filled well of Franc Moody may never run dry (...or drier I suppose). There may be videos coming out we don’t even know we’ve created. Rumours are the band have created the nether-realm version of ourselves called Mill and Wax, who wear almost exact copies of our famous red and green plumber outfits but in disgusting purple and yellow, concocting and filming bizarre videos for eternity.WILL: Sorry about him. Yes, there is one more movie&nbsp;coming out -&nbsp;featuring Toni C, the Cactus Driver...[vidtoken data:3]• Will Hooper is represented by Blink for music videos and commercials. Watch more of his work <a href="https://blinkprods.com/talent/will-hooper/" target="_blank">here</a> and Max McLachlan's work <a href="https://www.instagram.com/maxburnseasy/?hl=en" target="_blank">here</a>.

Max Mclachlan

Will Hooper & Max McLachlan on Franc Moody's Raining In LA: "David Lynch was a crucial reference." 

Raining in LA - Franc Moody

Franc Moody - In Transit (Official Visualiser)

Franc Moody - I'm In A Funk (Official Video)

FINAL_CACTUS_MAN.mp4

Will Hooper and Max McLachlan take Bally Gill on a surreal journey into the desert for Raining In LA, the first collaboration between the directors and London soul combo Franc Moody for the upcoming new album.It starts with a lo-fi&nbsp;info-mercial, featuring the band, about the joys of a new tavel agent, FM Travel. Then the gullible working guy played by Gill signs up and takes a suspicious coach journey into the desert to escape his mundane existence. But he finds himself in a very strange, upside world, and facing a very odd fate...Hooper and McLachlan are working&nbsp;for the first time as a directing duo on the project, having created visualisers for each of the five tracks on Into The Ether, the new Franc Moody album. Over several months they produced a slew of info-mercials, teasers and easter eggs which paved the way for the full-length music video for Raining In LA.&nbsp;

Anna Kennedy

Jade Denne

Bruce Langfield

Carlota De Molina

Rosie Brear

Connie Mead

Becky Tong

Nico Aguado

Carlos Feher

Laura Northover

Ana Gámiz

Alex Esteve

Ianire Beriain

Alberto Gil

Jorge Fortes

Bally Gill

Awal

BORNEO

Franc Moody 'Raining In LA' by Will Hooper & Max McLachlan

Will Hooper kicks off the New Year with an impeccable promo&nbsp;for Rag’n’Bone Man’s&nbsp;All You Ever Wanted.&nbsp;Visualising the song’s social commentary on overpopulation and gentrification, Hooper presents the idyll of a pristine model village, bringing his trademark charm and wit to the table.&nbsp; As the track progresses however, the layers are peeled back to reveal the reality hidden beneath: an unhinged dystopia playing&nbsp;out in live action.Every detail in the video had to be meticulously planned out through a series of animatics and storyboards. This took place weeks prior to shooting, in order for the model village set build - led by Jennifer Kidd - to work with the matchframe scenes in the live action.This attention to detail has paid off - the video is a stunning and unexpected take on very important themes, with an unforgettable aesthetic and visual style, which perfectly complements Hooper's recent steps into the bizarre and uncanny.&nbsp;[imgtoken data:1]

Emma Wellbelove

Sebastian Jowers

Ty Hack

Molly Manning Walker

Jerry Pardon

Ines Duarte

Amir Moulfi

David Hamilton

Emma Lipop

Nohelia Reyes

Hannah Ashby Ward

Homespun

Jack Stone

Dan Millar

Steven Enriaiyetan

Oliver Ford

Josh Tiley

Leopold Neassens

Rag'n'Bone Man 'All You Ever Wanted' by Will Hooper

Rag-N-Bone-Man--'All-You-Ever-Wanted'-by-Will-Hooper

Will Hooper presents a quickfire tapestry of chaotic performance setups, in his promo for Awa's Feelings.&nbsp;Intercutting a mix of contemporary and lo-fi aesthetics, the video charges forward with a sense of no-nonsense, unabashed energy.The performances from both Awa and&nbsp;Scofield are top-notch, and DoPs Jaime Ackroyd and Stefan Yap (who shared shooting responsibilities across the two-day shoot) create a strikingly vibrant world which fits together seamlessly.&nbsp;"The symbols of the&nbsp;Wizard of Oz-style floating house, the storm, the roses and the planet Venus cut against Awa’s performance, representing the chaotic energy that is synonymous with love," explains Will Hooper -&nbsp; who i nominated for Best New Director at this week's UKMVAs.&nbsp;"Feelings of uncertainty and turbulence sparring with desire and ecstasy - it’s that tumble dryer of emotions that makes up the fabric of this video."

Eleri Evans

Harry Hardwick

Jaime Ackroyd

Stefan Yap

Michael Hannides

Asia Rose Kilgallon

Ryan Monteith

Bon Walsh

Justin Hamilton

Marvin Francis

Liz Martins

Charlie Von Rotberg

Myles Bevan

Time Based Arts

India Hope

Jahmarley Bachelor

Elena Argiros

Sony Music Entertainment

Tom Kelly

Chris Hayden

Asia Rose Kilgallon / Kiloran Mclaren

William Pope

Stefania Lucchesi

Awa ft JB Scofield 'Feelings' by Will Hooper

Awa-'Fkn-Feelings'-by-Will-Hooper

In this extraordinary year, could this be the biggest&nbsp;music-visual lockdown project of all? Back in the late spring, just as lockdown was easing, directors James Papper and Will Hooper were awarded&nbsp;responsibility&nbsp;for a very&nbsp;ambitious project: to create a visual&nbsp; accompaniment to&nbsp;the whole 50 minutes-plus length of an album of remixes&nbsp;of Dua Lipa's hit album Future Nostalgia.Collaborating with numerous visual creatives, who all&nbsp;worked under lockdown conditions from their home cities - including the likes of Berlin studio Sucuk &amp; Bratwurst, Ignasi Monreal from Madrid, LA-based collective Actual Objects, Seo Young Kwon in Seoul, Brooklyn-based Miza Roux, Mason London in London, and more -&nbsp;the plan was to mirror the structure of the mixtape, where Dua Lipa and DJ/producer The Blessed Madonna have a gathered an array of artist-collaborators,&nbsp;from Mark Ronson, Madonna and Missy Elliot to Joe Goddard, Moodyman and Jayda G.[vidtoken data:0]Will Hooper, the <a href="https://blinkprods.com/talent/will-hooper/" target="_blank">Blink-based director </a>of music videos in the past couple of years for the likes of Declan McKenna, Bree Runway and Slaves - and nominated for Best New Director at this year's UKMVAs - was responsible for the live action side of the project:&nbsp;the video for the Blessed Madonna remix of&nbsp;Levitating,&nbsp;also&nbsp;<a href="https://www.youtube.com/watch?v=E3tCHMagPOY" target="_blank">released separately</a>,&nbsp;and transitions between all the videos on the visual album.&nbsp;Meanwhile, James Papper led on all things animation - which involved him working with&nbsp;different design/animation creatives from all over the world, and supervising&nbsp;the making of fourteen individual&nbsp;films for the album featuring a wide range of animation styles, from fully-realised 3D worlds to 2D animation to illustration-led visualisers.&nbsp;[imgtoken data:1]Based at&nbsp;<a href="https://blinkink.co.uk/directors/james-papper" target="_blank">Blinkink&nbsp;in London</a>, Papper usually directs&nbsp;commercials - his work includes ads for&nbsp;Camden Town Brewery and Voxi. It was a step out of his comfort zone, but it was a challenge he relished, as it gave him the&nbsp;opportunity to work with people - other illustrators, designers and animators, that he has long admired. And as a result, with the&nbsp;addition of Hooper's VFX-fired live action video for Levitating - featuring Missy Elliot as well as Dua Lipa - the&nbsp;Club Future Nostalgia&nbsp;'visual album' is&nbsp;a true mixed-media extravaganza.&nbsp;&nbsp;<blockquote>I have lists of people I want to work with&nbsp;[so] this project was a dream.&nbsp;</blockquote>"Following the work of artists is what I do with my own time," Papper tells us. "I have big lists of people I want to work with that I hold on to, [so] this project was a dream. Budget and Dua’s name allowed me to go to the top of that list." Firstly, he showed a selection of his favourite creatives and examples of their work to Dua Lipa, to see what would work for her. "I got to know what she liked visually, and was able to choose the best artists to fit her and her music," he says.[imgtoken data:2]Furthermore,&nbsp;the period of lockdown was also a real influence upon the whole project and how it was briefed out to the creatives, and Papper reveals that this was the core of his proposal when pitching to direct the whole project."At the beginning I was inspired by my own, and everyone else’s solitude during lockdown," he explains. "I wanted to explore our own daydreams whilst being locked inside, and that’s the idea for the video - escapism.&nbsp;With Dua in her room listening to records and being transported to a meditative, repetitive dreamworld."&nbsp;That idea then informed his briefs to the artists that he commissioned - and crucially, he asked the artists to use their own experience during lockdown as a jumping-off point for their imagination.[imgtoken data:3]"I wanted them to take me to their dreamworld," says Papper. "It’s not just about Dua’s experiences of solitude, but all of ours. Collectively, as a species, we were pretty much all experiencing similar levels of solitude, and something that shook up society and&nbsp;civilization as we knew it. In that sense, although we were in solitude, we were also connected.<blockquote>It felt like we were allowed to do whatever we wanted as long as we stayed true to our vision.</blockquote>"Those were the themes I wanted to explore: connectivity, dreams, escapism. And that was what I spoke with every artist about. Their interpretation of this is what made this project interesting. Loads of amazing creative minds coming together under one roof." [imgtoken data:4]Each artist had the same simple one-line brief:&nbsp;Dua in her bedroom daydreaming. After that, Papper says "we built ideas together", but his the elvel of communication and day to day involvement in their work varied greatly. "Everyone was different, and it was an organic," he says process. "With some, contact was minimal; with others we spoke pretty much every day. It was cool."But the fact that there were creatives all over the world working on the project meant that it felt like a relentlessly non-stop process.&nbsp;"Because everyone was in a different timezone it meant that it was always being worked on," he says. "Like 24 hours a day someone, somewhere was working on it. Which was kinda&nbsp;mental,&nbsp;but also made for great productivity as it spread it out nicely."[imgtoken data:5]&nbsp;&nbsp;&nbsp;&nbsp;It clearly required a can-do attitude, and a calm head to marshall this project, and Papper admits that "the sheer magnitude of it" was the most intense and challenging aspect. His team at Blinkink - particularly Gareth Owen, who produced each film, and EP Josef Byrne - were there to help with the strain. But also, Papper says that, crucially, the artist and her team were hugely supportive throughout the process.[imgtoken data:6]"Dua and her team were very cool about feedback, and super-trusting," he says.&nbsp;"It felt like we were allowed to do whatever we wanted as long as we stayed true to our vision. Being a commercial director I’m not used to that level of freedom. So it was nice knowing we had the means to make whatever we wanted, that loads of people were definitely going to see it, and that we’d be supported in our decisions."<blockquote>I wanted to explore our daydreams whilst being locked inside - it's about&nbsp;escapism.</blockquote>While this activity happening all over the world, Will Hooper was in London creating a live action video for Levitating, at the moment that shoots were starting again under the strictest conditions due to the pandemic crisis. This involved shooting only couples who had spent lockdown together - including Dua and her boyfriend&nbsp;Anwar Hadid - in a world where young lovers harness the power of a cosmic event. Then Missy Elliot was filmed in the&nbsp;US, directed by Hooper remotely from London.[imgtoken data:7]"I was brought onto the project a short while after James and Dua’s team had started laying the groundwork for the album film," says Hooper. "James and I were initially gravitated towards the collaborative nature of what Dua had achieved with bringing all these artists from across the world together and we wanted to lean into that with the visual."Working with James was mega. He’s a very creatively smart person and the first couple of weeks we spent smacking our heads together trying to work this thing out are sorely missed. We spent a lot of time on Zoom, James likes to look out of his window while he’s articulating his ideas and it’s very cute."We asked Papper&nbsp;to give us his take on each of the fourteen films he directed on the project.JAMES PAPPER ON EACH COLLABORATION FOR THE CLUB FUTURE NOSTALGIA VISUALISERFuture Nostalgia Director: James Papper Design &amp; Illustration: <a href="https://robinvelghe.com/" target="_blank">Rhymezlikedimez</a> (Ghent) JP: "Robin [Velghe, aka Rhymezlikedimez] is cool and just top of the game at what he does. It was nice working closely with him to make something that just looked very good."[vidtoken data:1]Cool Director: James Papper Design &amp; Animation:&nbsp;<a href="http://sucukundbratwurst.de/" target="_blank">Sucuk &amp; Bratwurst</a> (Berlin) "For the most part I let these guys do their thing. I’ve been a big fan of their work for a long time and I didn’t want to constrict their way of thinking. The interesting part of this job for me was adapting to every artists different workflow and nuanced ways in which they like to be directed."[vidtoken data:2]Good In Bed Director: James Papper Design &amp; Animation: <a href="https://www.instagram.com/zawhatthe/?hl=en" target="_blank">Jonathan Zawada</a> (Sydney) "Jonathan is not only a mega-talented cool guy but also just very lovely, and I enjoyed really nice phone calls with him where he would be very positive and excited about all potential ideas. His enthusiasm is contagious."&nbsp;[vidtoken data:3]Pretty Please Director: James Papper Creative Direction: <a href="https://actualobjects.org/" target="_blank">Actual Objects</a>; directors: Claire Cochran, Rick Farin&nbsp;(Los Angeles) "Actual Objects were amazing to work with. Their stuff is so sick and nostalgic to me, it reminds me of the movies that would play out in between levels you played on Playstation. Like when you completed Tekken and would get a character movie or something."Our process was chilled we just spoke a few times about ideas, then I wrote up a brief, put it in a deck and they just blasted it out. I love it, it’s one of my faves for sure."[vidtoken data:4]Boys Will Be Boys Director: James Papper Artwork &amp; Design: <a href="https://www.instagram.com/robertbeattyart/?hl=en">Robert Beatty</a> (Lexington, KY)&nbsp; "Robert’s stuff is sick. As soon as I knew he was involved I just thought about an alien club in space. I miss going out, dancing, etc. I just wanted to see an extreme version of what I wanted in life."[vidtoken data:5]Love Again Director: James Papper Design &amp; Animation: <a href="https://www.joeprytherch.com/" target="_blank">Mason London</a> (London) "Mason [aka Joe Prytherch] absolutely killed it and was a pleasure to work with. I tried to let him do his thing for the most part, because he is so good and so experienced already. He’s also a very nice guy."[vidtoken data:6]Break My Heart Director: James Papper Designer: <a href="http://www.mizaroux.com/now" target="_blank">Miza Roux</a>&nbsp;(Brookyn, NY); Animator: <a href="https://www.instagram.com/casparwain/" target="_blank">Caspar Wain</a> "Miza and I made friends throughout the project which was nice, as I had not much time outside of it to socialise. We just wanted to take what she had already been doing (cool/surreal bedroom scenes) and animate them."Her style is very sick and I’ve loved her work for a long time. Luckily I also had Caspar Wain to help with extra design and animation and he went above and beyond."[vidtoken data:7]Hollaback Director: James Papper Artwork:&nbsp;<a href="https://ignasimonreal.com/" target="_blank">Ignasi Monreal</a> (Madrid); Design &amp; Animation: <a href="http://connorcampbell.studio/" target="_blank">Connor Campbell</a>[vidtoken data:8]<blockquote>"Ignasi and Connor were a dream team..."</blockquote>Love Is Religion Director: James Papper 3D Design &amp; Animation:&nbsp;<a href="https://www.instagram.com/saidamagic/?hl=en" target="_blank">Saida Saetgar</a>&nbsp;(Vancouver) "Saida was very nice and took direction well. We went through a load of different ideas, thinking about themes of love, religion, etc, and came to something very cool. Saida is not only great at brainstorming but good at coming up with beautiful visuals which are very satisfying to watch."[vidtoken data:9]Don’t Start Now Director: James Papper Design &amp; Animation: <a href="https://studiodosage.com/" target="_blank">Studio Dosage</a>&nbsp;(Bristol) "Ben Dosage was amazing to work with on this. Ben and I have known each other for a while so it was good to work with a mate."Ben and I discussed ideas a lot and worked closely, but for the most part Ben did his thing and it was really cool to see. His visuals were amazing and I love the story he told."[vidtoken data:10]Physical Director: James Papper Co-Director: <a href="https://ignasimonreal.com/" target="_blank">Ignasi Monreal</a>&nbsp;(Madrid);&nbsp;Design &amp; Animation:&nbsp;<a href="http://connorcampbell.studio/projects" target="_blank">Connor Campbell</a> "Ignasi and Connor were a dream team. I first got Ignasi involved and we spoke about ideas. Ignasi was pulling up a lot of anime references and we were trying to figure out who would be good to pull his work together."That’s when we found Connor, who was amazing. The pair worked so well together and came out with an amazing product at the end."[vidtoken data:11]Kiss &amp; Make Up Director: James Papper Design &amp; Animation:&nbsp;<a href="http://glander.co/" target="_blank">Julian Glander</a> (Brooklyn, NY) "Julian is cool and funny and I just wanted him to do his thing. I love reading the chat down the side of his visualiser, it’s such a funny addition. That’s kinda what I mean about being allowed to do what we want. We just chucked that in there and Dua loved it."&nbsp;[vidtoken data:12]<blockquote>I love reading the chat down the side of Julian's visualiser, it’s such a funny addition.</blockquote>That Kind Of Woman Director: James Papper Design &amp; Animation:&nbsp;<a href="http://vewn.us/" target="_blank">Victoria Vincent aka 'Vewn'</a>&nbsp;(Los Angeles, CA) "I've been a fan of Vewn’s for a while. Her films are super funny and she’s a great storyteller. She was a pleasure to work with and I couldn’t have asked for someone better to go on this track!"[vidtoken data:13]Break My Heart (Moodymann remix) Director: James Papper Design:&nbsp;<a href="https://www.instagram.com/tototatatu/" target="_blank">Seoyoung Kwon</a>&nbsp;(Seoul) "Seo’s artwork is amazing, I love what she does. She is also incredibly easy to work with. I had been watching a lot of 80s anime around the time I found her,&nbsp;and I just wanted to make something very satisfying and glowy. Luckily she was keen to work with me and so we made this together.[vidtoken data:14]"I mentioned '80s anime to our compositor Richard Perrigo and he got super excited by that and was able to push things in compositing stages to achieve this effect. I really wanna work with Seo and Rich again to do this more. If you are a famous popstar and you’re reading this, hmu so I can work with these two again pls xxx."Future Nostalgia Remix Album&nbsp;- Production CreditsProduction Company: &nbsp;Blinkink&nbsp; Production Company:&nbsp;&nbsp;Blink&nbsp; Director: &nbsp;James Papper&nbsp; Director:&nbsp; Will Hooper&nbsp; Producer: Gareth Owen&nbsp; Producer: Corin Taylor&nbsp; BlinkInk Executive Producer: Josef Byrne&nbsp; Blink Executive Producer: Laura Northover&nbsp; Production Manager: Rosanna Morley Production Manager: Seb Jowers&nbsp; Editor: Jamie Harris&nbsp; Commissioner: Katie Dolan• James Papper is represented by <a href="https://blinkink.co.uk/our-work/" target="_blank">Blinkink</a> for commercial and music projects; Will Hooper is represented by <a href="https://blinkprods.com/" target="_blank">Blink</a> for music videos and commercials &nbsp;

James Papper

Behind The Video Album: James Papper & Will Hooper on Dua Lipa x The Blessed Madonna 'Club Future Nostalgia' 

Dua Lipa & The Blessed Madonna - Club Future Nostalgia (Official Visualiser)

01_FutureNostalgia.mp4

02_Cool.mp4

03_GoodInBed.mp4

04_PrettyPlease.mp4

05_BoysWillBeBoys.mp4

06_LoveAgain.mp4

07_BreakMyHeart.mp4

08_HollabackGirl.mp4

10_LoveIsReligion.mp4

11_DontStartNow.mp4

12_Physical.mp4

13_KissAndMakeUp.mp4

14_ThatKindOfWoman.mp4

15_Moodyman.mp4

Created during the depths of lockdown the theme of collaboration can be seen and heard; it’s the backbone of the 50 minute Future Nostalgia mixtape, featuring Dua’s collaborations with the likes of Mark Ronson, Madonna, Gwen Stefani and Stevie Nicks. &nbsp; BlinkInk’s James Papper directed thirteen different artists and animators from all around the world working on each bespoke visualiser.&nbsp; Each artist worked under lockdown conditions from their home cities: Madrid, Seoul, Sydney, Berlin, LA, Vancouver, New York, Kentucky, Gent and London to name a few. Having each track designed by a different artist, mirrored the structure of the mixtape itself; with each track being taken on by a different musician.Blink’s Will Hooper directed all of the live action elements, including the video for Levitating featuring Madonna &amp; Missy Elliot, remixed by The Blessed Madonna. The live action video features Dua Lipa with her boyfriend Anwar Hadid.Artists from around the world were brought together to give their own unique touch to Dua’s album. Such a wide array of musicians have been involved, from Mark Ronson and Missy Elliot to Moodyman and Jayda G, this mixtape has crossed the commercial line into the underground and back to Madonna!&nbsp;With this in mind, Blinkink and Blink joined forces to create a master plan for the remix of Future Nostalgia, with James Papper leading on animation and Will Hooper overseeing all things live action.&nbsp; From the beginning, their plan was to mirror the structure of the mixtape and have as many incredible artists as possible work on the visuals. The result is a mixed media masterclass of some of the finest animators, illustrators, artists and studios around the world coming together to create a wild 50 minutes of entertainment.The list of collaborators is impressive; HipHops’s favourite&nbsp;Rhymezlikedimez&nbsp;takes on the first track, Future Nostalgia featuring Hot Chip’s Joe Goddard. From there we enter the world of Berlin Collective&nbsp;Sucuk &amp; Bratwurst, with the remix of Cool handled by Jayda G. Ausi based artist&nbsp;Jonathan Zawada, takes on the Zach Witness’s remix of Good in bed. LA’s&nbsp;Actual Objects&nbsp;created an incredible 3D world for London based producer Midland’s remix of Pretty Please. Design legend&nbsp;Robert Beatty, working out of Kentucky, flexes his surreal talents for another Zach Witness mix of Boys Will Be Boys.&nbsp; The following two tracks take us into the illustrated world of&nbsp;Mason London&nbsp;for Love Again and Idaho’s&nbsp;Miza Roux, in Break My Heart with Jamiroquai and HorseMeatDisco taking care of the sound.&nbsp;From here, we take a break out of animation and into the real world for the track ‘Levitating’ ft Missy Elliot, remixed by The Blessed Madonna. Directed by Blink’s Will Hooper, this brilliantly crafted live-action piece features Dua Lipa with other half Anwar Hadid, in a world where young lovers harness the power of a cosmic event.With that craziness over we transition back into animation with Vancouver based&nbsp;Saida Saetgar&nbsp;surreal trip into Love Is Religion and Bristol’s&nbsp;Studio Dosage&nbsp;offering up some 3D magic for Don’t Start Now. Mark Ronson’s remix of Physical featuring Gwen Stefani is brought to life with the exceptional artwork of&nbsp;Ignasi Monreal, who teamed up with the visualiser master&nbsp;Connor Campbell.&nbsp;Julian Glander, takes on the&nbsp; trumpeteering 1960s legend that is Herb Alpert in an amazing link up of the old and the new for Kiss and Make Up. From there, we go into the illustrative world of LA’s YouTube star&nbsp;Victoria Vincent, with the remix of That Kind Of Woman by none other than Fleetwood Mac’s Stevie Nicks, in another cross generational team up! Finally, we finish up with Seoul illustrator,&nbsp;Seo Young Kwon&nbsp;teaming up with House legend Moodyman for his version of Break My Heart.

Gareth Owen

Corin Taylor

Rosanna Morley

Seb Jowers

Jamie Harris

Katie Dolan

Dua Lipa & The Blessed Madonna 'Club Future Nostalgia (Official Visualiser)' by James Papper, Will Hooper, various

Young lovers harness the power of a cosmic event in Will Hooper’s video for Dua Lipa’s single Levitating, remixed by the Blessed Madonna and featuring none other than Madonna and Missy Elliott.Following&nbsp;a successful run of videos for Declan McKenna, Hooper now lends his surreal perspective to a hybrid of conceptual performance and sci-fi inspired narrative.&nbsp;DoP&nbsp;Rina Yang executes a contemporary and inspired vision, treading a fine&nbsp;line between fashion editorial and home video, every frame a worthy photograph in itself.&nbsp;Although Madge is absent, Lipa and Elliot bring a torrent of energy to the table,&nbsp;which creates a sense of unabashed fun and celebration. Brilliant and beautiful work.&nbsp;&nbsp;

Julian Richards

Gabriel O'Donohoe

Rina Yang

Kate Mollins

Elliot Beech

Zach Apo-tsang

Lorenzo Posocco

Tamara Mennell

Dan Saunders

Spike Morris

Dua Lipa ft Madonna & Missy Elliot 'Levitating (Remix)' by Will Hooper

Dua-Lipa-'Levitating-Remix-Ft-Madonna-And-Missy-Elliot'-by-Will-Hooper

Will Hooper rounds off his series of collaborations with Declan McKenna, in the video for Daniel, You're Still A Child.&nbsp;Working with 3D artist Alfie Dwyer, Hooper has created a fantastical&nbsp;landscape which pays homage to iconic moments from each video, including Declan's well documented love of baked beans.&nbsp;Capturing the director and artist's sense of weird, self-referential humour, the visual moves from snake-infested cityscapes to freaky forests and rainbow roads -with a stop by the glitchy set from <a href="https://www.promonews.tv/videos/2020/01/31/declan-mckenna-beautiful-faces-will-hooper/63032">Beautiful Faces</a> on the way - whilst the camera perpetually pulls back in an endless loop of CGI environments.&nbsp;McKenna's performance is as engaging as ever, and his interaction with the imaginary scenes helps realise the offbeat concept.&nbsp;In short, a perfect video to consume in the countdown to McKenna's new album,&nbsp;Zeros, and another big success for the pair's creative collaboration.&nbsp;

Will Hooper

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