<strong><em>Marco Puig on making the video for Kooks' Sway</em></strong> "Sway is all about losing a friend. I wanted to create a film which explored how losing someone close to you really felt; it feels shit! "In the promo we see an underground dressing room tear itself apart. I guess the dressing room is a metaphor for Luke's heart - it breaks up till Luke is left alone with nothing. I decided to put Luke in a chain mail shirt to again emphasize the idea of him trying to protect his heart, but even that comes off at the end. "All the effects are done in-camera. Paul Mann at Machine Shop did an amazing job. I just kept asking for more and more, and he just kept giving me more. He's my second favourite person. "The first is Tom Gander, the production designer, who did an incredible job. Working as a production designer myself for the last ten years, I think I may have been a little bit of a control freak when it came to the set! The ceiling being blown off has to be one of the most fun moments on the shoot. We had loads of SFX hands up in the gantry running at break neck speed, pulling wires attached to the panels below. I was also really pleased with the long tracking shot through the debris. "Olly Goodrum, the producer managed to persuade ten students from Bournemouth College to come down, be 'mummified' in black drapes and puppeteer huge sections of broken set whilst two dolleys hurtled past them. "Denzil Armour-Brown made everything look really beautiful. I wanted to make something that looked like film, not this shitty crisp video I see everywhere else. Denzil really embraced the early Wong Kar-wai look I was trying to achieve. We pushed the stock to the extreme and used uncoated lenses from the 1940's. "Finally Simon Hargood (The Quarry) did an incredible job in the edit. I think he took the film to a whole new level. I love working with Simon cause he gets so involved in a project, really making the work his own. All in all I loved directing my first ever promo. And I can't wait to make another!"

Marco Puig on making the video for Kooks' Sway

<strong><em>Marco Puig on making the video for Kooks' Sway</em></strong> "Sway is all about losing a friend. I wanted to create a film which explored how losing someone close to you really felt; it feels shit! "In the promo we see an underground dressing room tear itself apart. I guess the dressing room is a metaphor for Luke's heart - it breaks up till Luke is left alone with nothing. I decided to put Luke in a chain mail shirt to again emphasize the idea of him trying to protect his heart, but even that comes off at the end. "All the effects are done in-camera. Paul Mann at Machine Shop did an amazing job. I just kept asking for more and more, and he just kept giving me more. He's my second favourite person. "The first is Tom Gander, the production designer, who did an incredible job. Working as a production designer myself for the last ten years, I think I may have been a little bit of a control freak when it came to the set! The ceiling being blown off has to be one of the most fun moments on the shoot. We had loads of SFX hands up in the gantry running at break neck speed, pulling wires attached to the panels below. I was also really pleased with the long tracking shot through the debris. "Olly Goodrum, the producer managed to persuade ten students from Bournemouth College to come down, be 'mummified' in black drapes and puppeteer huge sections of broken set whilst two dolleys hurtled past them. "Denzil Armour-Brown made everything look really beautiful. I wanted to make something that looked like film, not this shitty crisp video I see everywhere else. Denzil really embraced the early Wong Kar-wai look I was trying to achieve. We pushed the stock to the extreme and used uncoated lenses from the 1940's. "Finally Simon Hargood (The Quarry) did an incredible job in the edit. I think he took the film to a whole new level. I love working with Simon cause he gets so involved in a project, really making the work his own. All in all I loved directing my first ever promo. And I can't wait to make another!"

"Sway is all about losing a friend. I wanted to create a film which explored how losing someone close to you really felt; it feels shit!

<strong><em>Marco Puig on making the video for Kooks' Sway</em></strong> "Sway is all about losing a friend. I wanted to create a film which explored how losing someone close to you really felt; it feels shit! "In the promo we see an underground dressing room tear itself apart. I guess the dressing room is a metaphor for Luke's heart - it breaks up till Luke is left alone with nothing. I decided to put Luke in a chain mail shirt to again emphasize the idea of him trying to protect his heart, but even that comes off at the end. "All the effects are done in-camera. Paul Mann at Machine Shop did an amazing job. I just kept asking for more and more, and he just kept giving me more. He's my second favourite person. "The first is Tom Gander, the production designer, who did an incredible job. Working as a production designer myself for the last ten years, I think I may have been a little bit of a control freak when it came to the set! The ceiling being blown off has to be one of the most fun moments on the shoot. We had loads of SFX hands up in the gantry running at break neck speed, pulling wires attached to the panels below. I was also really pleased with the long tracking shot through the debris. "Olly Goodrum, the producer managed to persuade ten students from Bournemouth College to come down, be 'mummified' in black drapes and puppeteer huge sections of broken set whilst two dolleys hurtled past them. "Denzil Armour-Brown made everything look really beautiful. I wanted to make something that looked like film, not this shitty crisp video I see everywhere else. Denzil really embraced the early Wong Kar-wai look I was trying to achieve. We pushed the stock to the extreme and used uncoated lenses from the 1940's. "Finally Simon Hargood (The Quarry) did an incredible job in the edit. I think he took the film to a whole new level. I love working with Simon cause he gets so involved in a project, really making the work his own. All in all I loved directing my first ever promo. And I can't wait to make another!"

"In the promo we see an underground dressing room tear itself apart. I guess the dressing room is a metaphor for Luke's heart - it breaks up till Luke is left alone with nothing. I decided to put Luke in a chain mail shirt to again emphasize the idea of him trying to protect his heart, but even that comes off at the end.

<strong><em>Marco Puig on making the video for Kooks' Sway</em></strong> "Sway is all about losing a friend. I wanted to create a film which explored how losing someone close to you really felt; it feels shit! "In the promo we see an underground dressing room tear itself apart. I guess the dressing room is a metaphor for Luke's heart - it breaks up till Luke is left alone with nothing. I decided to put Luke in a chain mail shirt to again emphasize the idea of him trying to protect his heart, but even that comes off at the end. "All the effects are done in-camera. Paul Mann at Machine Shop did an amazing job. I just kept asking for more and more, and he just kept giving me more. He's my second favourite person. "The first is Tom Gander, the production designer, who did an incredible job. Working as a production designer myself for the last ten years, I think I may have been a little bit of a control freak when it came to the set! The ceiling being blown off has to be one of the most fun moments on the shoot. We had loads of SFX hands up in the gantry running at break neck speed, pulling wires attached to the panels below. I was also really pleased with the long tracking shot through the debris. "Olly Goodrum, the producer managed to persuade ten students from Bournemouth College to come down, be 'mummified' in black drapes and puppeteer huge sections of broken set whilst two dolleys hurtled past them. "Denzil Armour-Brown made everything look really beautiful. I wanted to make something that looked like film, not this shitty crisp video I see everywhere else. Denzil really embraced the early Wong Kar-wai look I was trying to achieve. We pushed the stock to the extreme and used uncoated lenses from the 1940's. "Finally Simon Hargood (The Quarry) did an incredible job in the edit. I think he took the film to a whole new level. I love working with Simon cause he gets so involved in a project, really making the work his own. All in all I loved directing my first ever promo. And I can't wait to make another!"

"All the effects are done in-camera. Paul Mann at Machine Shop did an amazing job. I just kept asking for more and more, and he just kept giving me more. He's my second favourite person.

<strong><em>Marco Puig on making the video for Kooks' Sway</em></strong> "Sway is all about losing a friend. I wanted to create a film which explored how losing someone close to you really felt; it feels shit! "In the promo we see an underground dressing room tear itself apart. I guess the dressing room is a metaphor for Luke's heart - it breaks up till Luke is left alone with nothing. I decided to put Luke in a chain mail shirt to again emphasize the idea of him trying to protect his heart, but even that comes off at the end. "All the effects are done in-camera. Paul Mann at Machine Shop did an amazing job. I just kept asking for more and more, and he just kept giving me more. He's my second favourite person. "The first is Tom Gander, the production designer, who did an incredible job. Working as a production designer myself for the last ten years, I think I may have been a little bit of a control freak when it came to the set! The ceiling being blown off has to be one of the most fun moments on the shoot. We had loads of SFX hands up in the gantry running at break neck speed, pulling wires attached to the panels below. I was also really pleased with the long tracking shot through the debris. "Olly Goodrum, the producer managed to persuade ten students from Bournemouth College to come down, be 'mummified' in black drapes and puppeteer huge sections of broken set whilst two dolleys hurtled past them. "Denzil Armour-Brown made everything look really beautiful. I wanted to make something that looked like film, not this shitty crisp video I see everywhere else. Denzil really embraced the early Wong Kar-wai look I was trying to achieve. We pushed the stock to the extreme and used uncoated lenses from the 1940's. "Finally Simon Hargood (The Quarry) did an incredible job in the edit. I think he took the film to a whole new level. I love working with Simon cause he gets so involved in a project, really making the work his own. All in all I loved directing my first ever promo. And I can't wait to make another!"

"The first is Tom Gander, the production designer, who did an incredible job. Working as a production designer myself for the last ten years, I think I may have been a little bit of a control freak when it came to the set! The ceiling being blown off has to be one of the most fun moments on the shoot. We had loads of SFX hands up in the gantry running at break neck speed, pulling wires attached to the panels below. I was also really pleased with the long tracking shot through the debris.

<strong><em>Marco Puig on making the video for Kooks' Sway</em></strong> "Sway is all about losing a friend. I wanted to create a film which explored how losing someone close to you really felt; it feels shit! "In the promo we see an underground dressing room tear itself apart. I guess the dressing room is a metaphor for Luke's heart - it breaks up till Luke is left alone with nothing. I decided to put Luke in a chain mail shirt to again emphasize the idea of him trying to protect his heart, but even that comes off at the end. "All the effects are done in-camera. Paul Mann at Machine Shop did an amazing job. I just kept asking for more and more, and he just kept giving me more. He's my second favourite person. "The first is Tom Gander, the production designer, who did an incredible job. Working as a production designer myself for the last ten years, I think I may have been a little bit of a control freak when it came to the set! The ceiling being blown off has to be one of the most fun moments on the shoot. We had loads of SFX hands up in the gantry running at break neck speed, pulling wires attached to the panels below. I was also really pleased with the long tracking shot through the debris. "Olly Goodrum, the producer managed to persuade ten students from Bournemouth College to come down, be 'mummified' in black drapes and puppeteer huge sections of broken set whilst two dolleys hurtled past them. "Denzil Armour-Brown made everything look really beautiful. I wanted to make something that looked like film, not this shitty crisp video I see everywhere else. Denzil really embraced the early Wong Kar-wai look I was trying to achieve. We pushed the stock to the extreme and used uncoated lenses from the 1940's. "Finally Simon Hargood (The Quarry) did an incredible job in the edit. I think he took the film to a whole new level. I love working with Simon cause he gets so involved in a project, really making the work his own. All in all I loved directing my first ever promo. And I can't wait to make another!"

"Olly Goodrum, the producer managed to persuade ten students from Bournemouth College to come down, be 'mummified' in black drapes and puppeteer huge sections of broken set whilst two dolleys hurtled past them.

<strong><em>Marco Puig on making the video for Kooks' Sway</em></strong> "Sway is all about losing a friend. I wanted to create a film which explored how losing someone close to you really felt; it feels shit! "In the promo we see an underground dressing room tear itself apart. I guess the dressing room is a metaphor for Luke's heart - it breaks up till Luke is left alone with nothing. I decided to put Luke in a chain mail shirt to again emphasize the idea of him trying to protect his heart, but even that comes off at the end. "All the effects are done in-camera. Paul Mann at Machine Shop did an amazing job. I just kept asking for more and more, and he just kept giving me more. He's my second favourite person. "The first is Tom Gander, the production designer, who did an incredible job. Working as a production designer myself for the last ten years, I think I may have been a little bit of a control freak when it came to the set! The ceiling being blown off has to be one of the most fun moments on the shoot. We had loads of SFX hands up in the gantry running at break neck speed, pulling wires attached to the panels below. I was also really pleased with the long tracking shot through the debris. "Olly Goodrum, the producer managed to persuade ten students from Bournemouth College to come down, be 'mummified' in black drapes and puppeteer huge sections of broken set whilst two dolleys hurtled past them. "Denzil Armour-Brown made everything look really beautiful. I wanted to make something that looked like film, not this shitty crisp video I see everywhere else. Denzil really embraced the early Wong Kar-wai look I was trying to achieve. We pushed the stock to the extreme and used uncoated lenses from the 1940's. "Finally Simon Hargood (The Quarry) did an incredible job in the edit. I think he took the film to a whole new level. I love working with Simon cause he gets so involved in a project, really making the work his own. All in all I loved directing my first ever promo. And I can't wait to make another!"

"Denzil Armour-Brown made everything look really beautiful. I wanted to make something that looked like film, not this shitty crisp video I see everywhere else. Denzil really embraced the early Wong Kar-wai look I was trying to achieve. We pushed the stock to the extreme and used uncoated lenses from the 1940's.

<strong><em>Marco Puig on making the video for Kooks' Sway</em></strong> "Sway is all about losing a friend. I wanted to create a film which explored how losing someone close to you really felt; it feels shit! "In the promo we see an underground dressing room tear itself apart. I guess the dressing room is a metaphor for Luke's heart - it breaks up till Luke is left alone with nothing. I decided to put Luke in a chain mail shirt to again emphasize the idea of him trying to protect his heart, but even that comes off at the end. "All the effects are done in-camera. Paul Mann at Machine Shop did an amazing job. I just kept asking for more and more, and he just kept giving me more. He's my second favourite person. "The first is Tom Gander, the production designer, who did an incredible job. Working as a production designer myself for the last ten years, I think I may have been a little bit of a control freak when it came to the set! The ceiling being blown off has to be one of the most fun moments on the shoot. We had loads of SFX hands up in the gantry running at break neck speed, pulling wires attached to the panels below. I was also really pleased with the long tracking shot through the debris. "Olly Goodrum, the producer managed to persuade ten students from Bournemouth College to come down, be 'mummified' in black drapes and puppeteer huge sections of broken set whilst two dolleys hurtled past them. "Denzil Armour-Brown made everything look really beautiful. I wanted to make something that looked like film, not this shitty crisp video I see everywhere else. Denzil really embraced the early Wong Kar-wai look I was trying to achieve. We pushed the stock to the extreme and used uncoated lenses from the 1940's. "Finally Simon Hargood (The Quarry) did an incredible job in the edit. I think he took the film to a whole new level. I love working with Simon cause he gets so involved in a project, really making the work his own. All in all I loved directing my first ever promo. And I can't wait to make another!"

"Finally Simon Hargood (The Quarry) did an incredible job in the edit. I think he took the film to a whole new level. I love working with Simon cause he gets so involved in a project, really making the work his own. All in all I loved directing my first ever promo. And I can't wait to make another!"