He has made an awesome black and white surfing film for singer-songwriter Isakov - a passion project, shot in Ireland, that stands comparison with a certain famous ad. It was time to ask the Rogue Films director some questions. Joe Connor Likes to push himself. The director, who has worked with artists including The Rolling Stones, Sam Smith, Harry Styles, Coldplay and Placebo, as well as brands like Louis Vuitton, Volvo and Land Rover, became hooked on the terrifying beauty of big-wave surfing during a chance trip to Hawaii - the sheer scale of the waves and the fearlessness of those who chase them.Connor is a versatile creative - director, photographer, and musician (one half of the UKVMA-nominated electronic duo Supermodel) - who made the leap from the theatre, where he ran his own company and directed productions, to film over ten years ago. Last year he also directed his first feature, A Message To You, a documentary about The SpecialsHe also continuously engages in personal projects to challenge himself. So when his longtime friend Gregory Alan Isakov shared an early copy of his new album, which includes the sun-soaked track Mistakes, Connor recognised a chance to realise his latest visual mission. Instead of returning to Hawaii, Connor chose to take an unconventional route by focusing on Mullaghmore in Ireland. This location is known for its dramatic big waves, providing thrilling 50-foot peelers under the right conditions, allowing him to infuse his signature atmospheric visual style into the project. [vidtoken data:0]In the resulting video, surfer Ryan Watts carves through these apocalyptic waves on a lone quest, crashing through monstrous barrels and wiping out into the abyss. Rendered in black and white, the stunning footage juxtaposes the ocean’s menacing ferocity with the fragility of man - the thrill and the danger of the sport.It's amazing, and we wanted to find out more how Joe Connor achieved it.I wanted to capture surfing authentically, convey how terrifying these waves can be, whilst also telling an emotional story.PROMONEWS: How did this project happen? Did it originate with a music video commission or start life as a personal project (or some other way)?JOE CONNOR: This project came about completely organically. I met Greg about 12 years ago in a little bar in Brighton. He was touring the UK [at the time]. We became friends, kept in touch, and always caught up when he came through the UK. We'd always talked about doing something together.He sent me his album before it came out to see if anything resonated with me. Aside from being an astounding piece of work, Mistakes struck me as something beautiful. Once I'd settled on the track, a sequence of coincidences led me to Mullaghmore Head in Donegal. It's a mythical place, and I think that comes across in the film.[imgtoken data:1]Mullaghmore has a reputation as a dangerous and unpredictable mutant wave. A wipeout here can kill. P: How knowledgable are you about surfing? Have you been a surfer, ever filmed surfing before?JC: I'm actually not a surfer - I've never surfed. There weren't many waves in Manchester when I was growing up. But I tend to hyper-focus on subjects that catch my interest.Last year, while staying on Hawaii's North Shore watching people surf Pipeline, I became obsessed with the mentality required to surf such an incredibly dangerous reef. I'd never known waves could be lethal the way Pipeline can be - it's truly terrifying. I just became obsessed with surfing - I'd fall asleep watching surf films every night.When this song came up, I wanted to challenge myself not only to capture surfing authentically and convey how utterly terrifying these waves can be whilst also telling an emotional story through it. To go beyond mere documentation and find something more eternal that resonated deeper. I think people are yearning for work that stays with them longer.[imgtoken data:2]The key piece of this project was the surf cinematographer, Clem McInerney... a genius.P: When (and how) did you cast your surfer, Ryan Watts? What’s Ryan’s backstory?JC: The key piece of this project was the surf cinematographer. I needed someone who knew the waves, knew the landscape, knew the surfers, but was also an artist who could capture the ocean in a dynamic, poetic way. That person was Clem McInerney, and Clem was the one who proposed Ryan.I can't really describe Ryan, he's a mythical creature. Some say he's still out there surfing now.P: You would be forgiven for thinking this was shot in California, Hawaii, etc. But its shot in County Donegal. What were the factors that led you to shoot there? JC: Gregory's voice is magic - it sends you into a dream state - but his lyrics have a depth that gets into your bones. I knew sun-kissed Californian or Hawaiian landscapes wouldn't do the song justice; the sea needed to be powerful, dangerous, terrifying, cold, brutal. You had to feel like the surfer was on a knife edge, a lonely tightrope with real consequences.[imgtoken data:3]I became obsessed with the mentality required to surf such an incredibly dangerous reef.I'd travelled up the west coast of Ireland just before Covid and remembered hearing about these waves as big as houses. Mullaghmore has a reputation as a dangerous and unpredictable mutant wave. A wipeout here can kill, it's not a joke. As soon as I started to think about this project, I knew It needed to be shot there. P: When did you shoot the video, and how many days were you shooting? Did you know when you went to Donegal that the conditions would be ideal for what you wanted to achieve?JC: We planned this shoot meticulously but kept it simple. With just myself and Clem as crew, we could move nimbly with the ocean and find calm spots for underwater work.The timing worked perfectly. The big weather storms in the States meant plenty of swell was crossing the Atlantic. Clem is a master at getting himself in the right places at the right times. The guy is a genius. I leant on his experience, expertise, knowledge and skills a lot over this project and the final film is a testament to his work.[imgtoken data:4]I knew sun-kissed Californian or Hawaiian landscapes wouldn't do the song justice.P: So how did you organise the shoot? When Ryan is surfing through a wave, where are you/DoP Clem shooting from? What cameras are you using? (Is it as tricky as it looks?)JC: We broke down the shoot into controllable locations to capture specific story beats and moments that complemented the big wave surfing. Working in calm water, we focused on getting compelling performances and details that elevated this beyond mere documentation into a cinematic narrative.This approach allowed us to build layers of visual storytelling - from the raw power of nature in the big wave sequences to intimate moments that revealed the psychological and emotional aspects of facing such formidable conditions.Clem worked underwater while I was on the cliffs getting battered by the sea. For the wave work, Clem operated from various positions. Sometimes on the back of a jet ski, other times in the water managing the swell and currents to get the perfect angle at the perfect moment. I really can't stress how impressed I am with this guy's skill - and he's a great laugh as well. A total pleasure to spend two days with.[imgtoken data:5]Ryan is a mythical creature. Some say he's still out there surfing now.P: Was the fact you’re shooting in a northern ocean off Ireland the main reason you finished the project in black and white?JC: Shooting in natural light across multiple days in uncontrollable environments - with sea conditions varying from gin-clear to foggy - meant finding a look that balanced all the footage would be challenging. I had a feeling black and white would be the way to go, as it would unify the project and focus attention on the story rather than the changing conditions.That being said, the grade done by my longtime partner-in-crime George K at Black Kite is astounding. Black and white may look easy, but it's incredibly difficult for a colourist to achieve the right tonality, contrast, shape, balance, and feeling in monochrome. They don't call him the prince of darkness for nothing.P: Is your surfing footage better than the surfing footage in that famous Guinness ad?That's a big statement. To have my work mentioned in the same sentence as the master is a compliment I'll take.• Joe Connor is based at Rogue in the UK, and represented for music videos by Alexa Haywood at Free Agent; more of his work here.

Candice Lo directs an impassioned performance by Griff, taking its inspirational cue from the songtitle. And things are going to get messy.The video for Last Night's Mascara begins with Griff in white, in an all-white space. But the first smudge of black indicates what is coming, as Lo orchestrates the addition of streaks of 'last night's mascara' through the pop singer's choreographed performance. She mars the white space and her own clothing with handprints and stains, as the ever-flowing mascara acts as a cathartic release, leading to an artistic portrayal of grief. A captivating concept anchored by the artist's commitment to the performance, and Lo's inspired direction.[imgtoken data:1][imgtoken data:2]

BRTHR return with a delirious dream of a video for JENNIE and Dua Lipa's internet-busting team-up on Handlebars.The directing duo (Kyle Wightman and Alex Lee) have, rather incredibly, been making music videos for over a decade in their distinctive and highly influential style. And once again they deliver a breathtaking bombardment of imagery, fused by propulsive editing and virtuoso VFX. But rarely, if ever, has their maximalism been so lazer-focussed on producing sheer, shiny gorgeousness on-screen.The ultimate style and look is so very BRTHR, but they have been ably assisted by individuals who have been involved in other hugely impactful pop videos of recent times. DoP Ben Carey and colourist Myles Bevan play their part here too, in achieving the fusion of old and modern Hollywood-style glamour at the heart of the Handlebars video. [imgtoken data:1][imgtoken data:2]

The Reids continue their longstanding relationship with Mura Masa with another vibrant celebration of youth and movement, documenting a NYC-based project that revives the joyous act of 'Double-Dutch' skipping.The video for Jump showcases nonprofit Showdem, a group of dancers from the City on a mission to spread joy through movement. They come together to express themselves through the Double Dutch, the activity that first blossomed in the early hip hop era. They also bring their rope skills to the community, inviting the wider public to participate.[imgtoken data:1]Which is exactly what happens in the video, starting with the dancers' turns within the double skipping ropes before the group appear at a shopping mall for a demo and then get some of the onlookers involved. Blending docu-style camerawork with traditional performance visuals, the video is broken up by intimate, candid moments and a celebratory vibe that bleeds through every frame. A feelgood promo which showcases not only the group as a whole, but the charismatic individuals within it. And in that respect it certainly feels of a piece with the previous collabs between Mura Masa and The Reids over the past couple of years.