Some music videos are polished. Others are wild. And then there are the ones that feel like someone strapped a camera to their soul and hit record. This POV-driven submission landed somewhere between all three.
Lets hear from director Amalia Irons — who not only shot, edited, and colored the video but dreamt it up months before the label even called — to talk chaos, filmmaking alchemy, and basement dance scenes.
Here’s what they shared.
Building a World With Six People and a Cigarette Tube
When asked how many hands helped shape the project, the director explains that this production was intimate, personal, and built on long-standing creative relationships.
“Not including the cast Probably around 6 people for the crew. Lot’s of my dearest friends involved. I am incredibly close with the DP Max Harper, and he really did an astounding job. The rig he had to wear on his head for the POV shots connected to a tube that he was constantly smoking cigarettes out of to give the video that effect. It was very hardcore. Besides him was myself as I directed, edited, and colored it.”
That cigarette-tube POV rig alone tells you everything about the commitment and the trust on this set.
Two Days of Shooting, A Month of Vision & Kismet
The director describes a process driven by early experimentation and an unexpected alignment with the label’s visual references.
“It took 2 days to shoot it. A month or so prior I had decided I was to make a film in mostly POV shots, when the label reached out to me their main reference was the smack a bitch up prodigy music video which is all POV, it was kismet! I ended up using the opportunity to actually make a short film I’d been dreaming of. The music video version is like a trailer to that for me.”
The “music video as trailer for a larger dream project” concept offers a rare glimpse into how some of the industry’s most creatively daring videos come to life.
On Chaos, Time, and the Tornado That Builds or Destroys
Filmmaking always has its obstacles, but for this director, the biggest battle is one every filmmaker knows too well: time.
“The biggest challenge I typically face is time, making sure we are able to accomplish everything in the amount of time I have to make it. But everything about filmmaking is in a way a challenge. The alchemy of complete chaos that aims to create the perfect moment and that you’ve only ever seen it your head pushes you beyond the bounds of what you could ever imagine. It’s like throwing dirt in the air, having it turn into a tornado, and that tornado either builds you a palace or destroys your town – it’s a metamorphosis.”
It’s rare to hear the process described this poetically—and yet the metaphor feels exactly right for a video that lives between disorder and intention.
Director’s Favourite Moment
When asked about the standout moment, the director doesn’t hesitate:
“My favorite part of the video is the basement dance scene.”
And that’s that!
A Video Built for Interpretation, Not Instructions
When it comes to the message behind the video, the director makes it clear that the piece isn’t meant to dictate a single, fixed meaning. Instead, it’s constructed with layers—inviting viewers to bring their own perspective, emotions, and experiences into the viewing.
“No, everything that the viewer sees is what they are meant to see.”
Rather than guiding the audience toward one conclusion, the film trusts them to find their own interpretation. It’s an approach that aligns perfectly with the video’s immersive POV style: subjective, personal, and different for everyone who watches.
References & Cinematic DNA
To close, the director shares the artistic influences behind the project:
“The Phantom of Liberty (Luis Buñuel 1974), Nostalghia (Andrei Tarkovsky 1983), In Bruges (Martin McDonagh 2008), Naked (Mike Leigh 1993), The british sitcom Peep Show”
A blend of surrealism, philosophical cinema, dark comedy, British realism, and cult sitcom POV—an unexpected recipe that makes perfect sense for the final result.
Check the video below.
CREDITS
Directed by Amalia Irons
Director of Photography, Max Harper
Executive Producer, Caroline Gluck
Gaffer, Roman Dosumov
Production Designer, Vasiliki Ioannou
Production Manager, Gavin Sullivan
Production Supervisor, Jonah Goldberg
Coordinator, Nikita Weber
1st AC, Priscilla Mars
Grip, Osman Abdulrahman
TALENT
Hayes Bradley
Robert Broski
Winona Weber
Leif Manson
Sophie Appel
Harmony Tividad
Julius Tedaldi
Simone Hills
Yasmine Diba
Davis McDonald
Grace Trilla
Harry Hayes
Mac Bradley
Jay Bradley
Bennett Coast
Seb Torgus
Special thanks to Stratsonic Records:
Jesse Rogg
Craig Pettigrew
Hannah Miller
Maher Daniel
Bill Patrick
Matt Ossentjuk
Management: Hot Soup, Grace Trilla @gtrilla
