The snakes are now butterflies as Taylor Swift enters a decidedly upbeat phase in this elaborate video — which is kind of like a day-glo, cotton candy, poppy version of Midnight In Paris, with a major supporting role by Brandon Urie of Panic! At The Disco.
How do you one-up the epically awesome, and ultra-violent first-person-shooter turned music video "Bad Motherfucker"? The answer is apparently not a movie based on the concept — director Ilya Naishuller's Hardcore Henry didn't explode at the box office — but another music video, this time for a huge star like The Weeknd, stunts far beyond Michael Bay levels, and even a sly reveal at the end. Oh, and lots of bad motherfucking violence.
Ilya Naishuller, director: "After Hardcore Henry, I was pretty much set on not doing anything POV related, at least in the near future. But when this track from The Weeknd came in and I listened to it, I couldn’t help but get excited for the possibilities,” says Naishuller. The key, in my mind, was to make sure that whatever I shot in POV had to be a step up from all that came before, which I believe my team and I have accomplished in the video for False Alarm. Apart from the faux continuous-one- shot feel of the video, the visual aspect of telling this simple yet elegant ‘crime doesn’t pay’ story was greatly improved by using the Codex Action Cam which was introduced to me by Starr Whitesides, our DP on the project. It made the film feel much more cinematic than is expected and took the visuals to the next level.“
Meet the most beautiful roadside waitress in the world as she gets oh so easily lured into an adventure with her best friend. The roadtripping journey eventually touches down in Las Vegas for a Tiesto show and much more.
It's a good time for all, unless you happen to still be waiting for a coffee refill at the diner.
"Lost Kitten" shines a light on acclaimed ballroom dancer/actor Sheldon McIntosh aka Tynomi Banks, the "drag name" he performs under in his native Toronto.
Sammy Rawal, director: “We shot on a small island there [in Mexico] called La Isla de las Munecas. It's only accessible by a 45-minute trip via trajinera. On our way back to the mainland to shoot the last scene, we encountered a torrential rainstorm, and our trajineras started to take on water. The entire crew and gear were on these sinking boats, and all I could picture was bloodthirsty crocodiles and mutant anacondas waiting for us in the water. We finally approached the access point where passengers exit the boat, and the boat is lifted out of the water and over a cement barricade. As we got there, we found out that it had just been struck by lightning and we couldn't go any further. It was incredible.”