I did a video with Taylor Swift, one of the greatest collaborations. That girl is a genius… Even if the music’s not for you, what she’s kind of created is of her own will, everything she does is of her own design, there’s no committee. It’s not like a lot of other pop stars or musicians where you feel like somebody else is writing the music and she’s just doing karaoke. No, she writes every song, she is the architect of her persona. She’s a fantastic role model for young people, you know what I mean? Everything she does is impeccable and it’s all filtered through her which is so commendable. She’s reached the top at 25 on her own merits and of her own design. So that was fantastic, working with her. Then she asked me to work on her tour. So her tour that just kicked off, there’s some Kyle Newman stuff going on there. So we shot some interstitial elements. Every time there’s an act break, there’s some surprises going on…. I’ve worked with her every day. She’s the coolest and she creatively supports you if you say you need it. It’s not like working in the film business where people fight you over everything. I don’t ask for much, but I say I need it and we find a way to do it.
Taylor Swift has done a lot of things, but a straightforward effects video wasn’t one of them – until now. Relying on literal smoke and mirrors, the Kyle Newman directed cut is the darkest, most abstract thing she’s done yet. Its imagery is direct and richly effective, even as it explores Swifts’ rarely-seen propensity for spooky sensuality. The moodiness seen here adds yet another dimension to Swift’s multifaceted public figure, and pairs well with a song touching on heartbreak and the classicism of love – and, y'know, Harry Styles.
This is hit number three from an album that’s already historical, and shows no sign of slowing down. It was the biggest airplay gainer last week, and with the visuals now released, Style’s rise to the top of the charts seems inevitable – and well deserved. Long live that red lip classic thing that we like.