music videos directed by film directors

Occupations Masterlist:

The Music Industry~

OKAY, so under this cut you’ll find a list of #55 jobs your characters can hold in the music industry aside from classic band members/solo artists. I know for bandom RP especially it can be hard to come up with unique jobs for OCs that still enable them to create connections. I’ve organized everything into categories for easy searching and defined even the most intuitive titles, so hopefully this helps!

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Liam Gallagher - Wall of Glass
Date release: 30 May 2017
Director: François Rousselet

Today, he’s shared the first single from that album. It’s called “Wall of Glass,” and it’s got a slick new François Rousselet-directed music video that’s full of mirrors. Watch it below. According to Gallagher, the video’s visuals were inspired in part by James Bond and Bruce Lee films. “I did get to wear a gold Saint Laurent hooded jacket in one scene, which I convinced myself made me look like a modern day Elvis, as he loved to wear gold suits,” he told Pitchfork via email. Gallagher has also revealed that the new album will arrive sometime in October. “I think it’s up there with the best work I’ve ever done,” Gallagher said of the album. “And so will you, when you hear it.”  - Pitchfork


Scream Queens: Asia Argento

Asia Argento was born into a family of actors and filmmakers, and she is one of the most sought-after actresses of the moment. She made her debut when she was only nine years old in Sergio Citti’s Sogni e bisogni (1985). In 1988 she had the leading role in Cristina Comencini’s first film, Zoo (1988), and was part of the cast of The Church (1989), directed by Michele Soavi. The following year she played Nanni Moretti’s daughter in Red Lob (1989) (also directed by Moretti).

It was with Close Friends (1992), written and directed by Michele Placido, that Asia’s career really took off and she was able to move on from playing very young girls to more mature, complex roles. The movie was well-received at the Cannes International Film Festival. In Trauma (1993), she worked for the first time with her father, famed Italian horror director Dario Argento (her mother is one of Argento’s favorite actresses, Daria Nicolodi, playing an anorexic girl in search of her parents’ killer. The Phantom of the Opera (1998) is the third film she has made with her father, the others being Trauma (1993) (filmed in the US) and The Stendhal Syndrome (1996).

Asia’s absorbed, intense style of acting was well-used in Giuseppe Piccioni’s Condannato a nozze (1993). In 1993 she co-starred in Carlo Verdone’s Perdiamoci di vista (1994) in which she played Arianna, a physically disabled girl–an intricate, difficult role that won her the David di Donatello for best actress (1993-1994). She also had a featured role in the international cast of Queen Margot (1994), directed by Patrice Chéreau. In 1995 she worked with Michel Piccoli in Peter Del Monte’s Traveling Companion (1996), which again won her a David di Donatello and a Grolla d'oro.

In 1994 Asia turned her hand to directing and turned out two short films: “Prospettive” (an episode of the film DeGenerazione (1994)) and “A ritroso”. In 1996 she directed a documentary on her father and, in 1998, one on cult director Abel Ferrara, Abel/Asia (1998), which won an award at the Rome Film Festival. In 1999 Asia made her feature-directing debut with Scarlet Diva (2000), in which she was the leading actress and author of the screenplay. The film was released in May 2000 in Italy and the rest of the world. It won an award at the Williamsburg Film Festival in Brooklyn, New York. In 2001, after directing a number of music videos, she gave birth to her first daughter, Anna Lou. In 2002 she starred in La sirène rouge (2002) by Olivier Megaton with Jean-Marc Barr and the action thriller xXx (2002), directed by Rob Cohen, with Vin Diesel.

Asia is also the author of a number of short stories published in many prestigious magazines such as “Dynamo,” “L'Espresso,” “Sette,” and “Village,” Her first novel, “I Love You, Kirk,” was published in Italy by Frassinelli Editrice in October 1999 and in France by Florent Massot in 2001.

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🎬💉Check out the #Monday especial, and then tag an 🔪Ex of yours! 🎬Starring the folks over @dirtbag_ent directed and chopped @ky_gelly #getweird thanks to @perfumegenius for the amazing #music have a great week, y'all! 🤾🏽‍♂️👊🏽 #startyourweekWEIRD #mayweatherchallenge#daily#original#content#allday#director#filmmaker#film#video#editor#creative#creator#la#losangeles#lb#longbeach#hollywood#entertainment#elprimobrand (at Puerto Vallarta, Jalisco)

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Tron Uprising

Man, I wish this show hadn’t been cancelled… It was a beautiful visual feast!!! So cool.

Summary (source: Wikipedia):

Beck is a young program, who becomes the leader of a revolution inside the computer world of the Grid against the villainous Clu and his henchmen. Beck, a mechanic, is trained by Tron, the greatest warrior the Grid has ever known. Tron not only trains Beck in the fighting and light cycle skills to challenge the brutal military occupation of the city of Argon, but also guides and mentors him to grows beyond his youthful, impulsive nature into a courageous and powerful leader. Beck adopts Tron’s persona and becomes the enemy of General Tesler and his oppressive forces

Director Charlie Bean explained ‘the idea was to create a distinct style for the CG show not seen elsewhere on television or in film. He worked closely with art director Alberto Mielgo, character designer Rob Valley (animation artist for the Gorillaz music videos) and lead vehicle designer Daniel Simon, who was previously responsible for many vehicle designs in the Tron: Legacy feature film, including the light cycles. Mielgo won the Primetime Emmy Award for his art direction in 2013.


Music by: Marvel X Speeks - (Goodnight Moon)

Listen on SPOTIFY.

E.T. the Extra-Terrestrial (1982) Universal Pictures.

Directed by: Steven Spielberg

Written By: Melissa Mathison

Starring: Dee Wallace, Peter Coyote, Henry Thomas and Drew Barrymore


#deewallace #petercoyote #henrythomas #drewbarrymore #stevenspielberg #marvelxspeeks #cinema #filmscore #ettheextraterrestrial #et #music #director #fantasy #instrumental #film #movie #alien #aliens #goodnight #moon #space #earth #soundcinema #frenchmusic #frenchhiphop #hiphop #hiphopmusic #instagram #video

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In December of 1990 I directed this music video for the band “Alice in Chains” while I was based in Los Angeles at Propaganda Films.

I had seen the band play one of their first shows in New York City the previous October at the legendary Cat Club, which is now defunct like so many other great clubs in New York.  I was so inspired by the band at  that show that I personally called Kris P. who was the music video commissioner at Columbia records and told her that I wanted to direct their next video.

A few months later I was in discussions with the band and the label about their forthcoming single “Man in the Box”.  This song was written by the late Layne Staley and he was the one I was discussing the concept of the video with.  After a very brief phone conversation with him while he was on tour, I received a “Fax” from Layne with 3 words scribbled on it. “A drippy dark barn”, “farm animals” and “a baby with eyes sewn shut”.  With that for inspiration from the songwriter I wrote the treatment for the :Man in the Box” video and was awarded the gig by the band and the Columbia records. The budget was less than $50K, keep in mind this was several months before Nirvana changed the world of alternative music.

I found an old barn in the Santa Monica mountains, owned by a park ranger, just 45 minutes out of downtown Hollywood.  I remember driving to the set the morning of the shoot and thinking to myself: ” I’m about to film a very cool rock band on a dirty farm with a bunch of cows and pigs!”. “What the fuck is wrong with me!”.  Once the cameras started rolling those thoughts and feelings were history.  We shot for 14 hours on black and white 16mm film which I later color corrected to sepia and also shot with my hand cranked Bolex, ( which I still own and use incidently), as second camera which I loaded with color film.

The video ended up breaking the band, was in the MTV Buzz bin and was nominated for an MTV Award in 1991 which we lost to that Aerosmith that had Alicia Silverstone in it.

This is definitely one of my favorite music videos that I directed. I remain very proud of it. RIP Layne Staley. - Paul Rachman

6 reasons Iceland is the coolest team in Euro 2016

1. Their goalkeeper is a film director, he only decided to play football on full time 4 years ago. He directed the music video for Iceland’s 2012 Eurovision contestant.

2. Their assistant coach are a dentist

3. They are tougher than all of you, they play football in storm,hail,snow,rain.

4. They make non star players play like stars

5. Ten percent of the population are going to France to cheer them on

6. They have only 20.000 football players in the entire country.


Last month, Dosnoventa Crew was shooting his last video: DSNV RUNS JAPAN. An amazing experience through the cities of Tokyo, Kyoto and Osaka.

We want to send a special thanks to Naoya Himashiro, Yudai Fukui, all the Brotures staff and to our sponsors, without your support this wouldn’t have been possible!

This video is dedicated to mr. Steve Hed, R.I.P.

- SERGI CASTELLÀ (film & direction)
- HECTOR FERREÑO (film & direction)
- XAVI TRILLA (edit & additional filming)
- DANI MELO (artwork)

- JUANMA POZO (founder)
- DANI MELO (art director)
- URI BORDES (ceo)
- NAOYA HIMASHIRO (brotures)
- YUDAI FUKUI (brotures)

Thanks to all Brotures staff and thanks to our sponsors:

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One of the most interesting announcements out of this year’s Cannes is Together Now, an upcoming collection of seven short films directed by and starring women. A series of huge names are already on board to direct.

According to The Hollywood Reporter, Robin Wright is set to direct a short, as is Catherine Hardwicke, who directed the first Twilight, Patricia Riggen, who made Chilean mining drama The 33, Melina Matsoukas, who directed the music video for Beyoncé’s “Formation,” Kátia Lund, who co-directed City of God, as well as Polish director Małgorzata Szumowska and Saudi director Haifaa al-Mansour. Juliette Binoche and Freida Pinto will both star in shorts. Together, the seven films will make up a feature-length movie.

Together Now is the first film from the non-profit production company We Do It Together, which was founded to finance films, documentaries, and TV shows focused on empowering women. The film industry — not just in Hollywood, but globally — has done a horrible job of putting women at the head of movies, so a project like this is both exciting and important. “We believe that we can create a movement, with women and men, with actions behind words, that will change the utterly outdated and discriminatory paradigm that we see in media, and its marginalization of women worldwide,” We Do It Together writes on its website. [x]


Poster from 1999 play by underground writer / director David N. Donihue

Below is a collection of works and hard to find memorabilia taken from 20 years of Donihue’s writing and directing of poems, plays, films and music videos. Below is taken from a series of articles and a couple photos from Donihue’s own private collection.

Donihue was born in rural Eastern Washington and raised near the Green River Killer in Auburn, Washington. He started writing plays that were performed for 45 cents in his back yard and local parks when he was as young as seven. His first film was made when he was eleven, utilizing a rented video camera and two borrowed VCR’s with stereo cables. His father was a pastor. His mother, a well known Christian Devotional author. 

The controversial writer got his first negative reviews at the age of 15, when he was nearly expelled from his conservative town’s high school for writing the below story -

MR. CLOWN (1990, Age 15)

Mr. Clown was a happy clown.
He loved making children happy.
And they were happy and the parents were happy.
And everyone was happy.

Until Mr. Clown realized he could no longer please children.

They wanted to be transformers and deformers and things with no form whatsoever.
And so then the children were unhappy and the parents were unhappy.

Until Mr. Clown decided to blow himself up into many little pieces and then
the children were happy and the parents were happy and Mr. Clown never had to be sad again.

The End.

Donihue handled the rejection of his early art well yet refused to take another writing course again. It should be noted, he was later nominated for a Film Fare Award for his writing on Parzania, the highest honors in India and one of the largest international awards one can receive. The film, was an anti-religious violence piece.

By his mid teens, Donihue was writing feature length plays. During these years, Donihue began to work graveyard shifts at a local college radio station, KGRG-FM, as an overnight DJ.

There, he became obsessed with experimental music and film, and directed a series of student films. These included Anthony’s Apocalypse and Inside Anthony’s World. During this era, at age 18, he wrote Hold My Hand & Tell Me I’m Not Insane, a comedy-drama about a young playwright whose scripts follow his life, yet later dictate it. The play was produced in Seattle with its premiere at the Scottish Rite Hall on Capitol Hill.

During his early twenties, Donihue wrote, directed, acted in and produced a string of independent plays within the northwest including Hey Baby Do Ya Wanna Come Back To My Place and Justify My Existence, and another pop psychology comedy Brain Aches And The Quest For Redemption Of A Telephone Psychic as well as the forty-minute short film Love Me Tender, Pay Me Well.

In 1998 Donihue began performing under the stage name Punko and released an indie album titled The Day Bob Went Electric. The comedicly performed yet earnest album garnered regional radio and Donihue continued to perform the sad and sweet parody like tunes until his final show at sxsw in 2007.


projections (1997)
you expect me to become what you project

my eyes are drifting to the clouds once again

I see the colorless planet and am ashamed

I see the vibrant vivid crashing rain

crashing down with sincerity

why does it take pain to 

transcend us a bit of honesty 

in this day and age

and all of my daydreams come crashing in

singing dum dee da lum dum dum dee lumm dum

and all of your projections threaten to transend

screaming dum de da lum dumand 

all of my daydreams function once again
run in the sunshinelike 

your drift in the daydream light

like that colorless drifting look in your eyes

I’m still the same no matter what you bring to my life

I’m still the same I can drift inside

on account (1997)
on account that your strung out and

there’s no doubt I lost my mind

I’m a tripper & a spinner & I’m stuck on overdrive

I’m a preacher and a seeker 

like watching Jimmy kiss the sky

And all about that day & how you sat me down 

& changed my life

There’s no reason to be seasoned 

if you’ve seen the world flash by

Look at what’s going on

Yet they are strong

He’s my brother like a summer like a daydream whitworth time

He’s a prisoner and I miss him wonder who he’ll be next time

He’s a liver & a giver & I’m sorta trapped inside

Look at what’s going on

Yet they are strong

I’ve seen all the young idealist turn into what they despise

I’ve seen all my daydreams take me right on through this daylight life

I’ve seen people try to heal me just so they could feel alive

Donihue during this era directed the little seen feature The Humanity Experiment.

In 2005, Donihue wrote and produced the first “non-trippy” film of his career, Parzania. It was directed by Rahul Dholakia.

The internationally acclaimed feature was nominated for the eastern hemispheres Oscars, the film fare award for Best Picture and Best Screenplay and Best Story. Leads Sarkia and Naseeruddin took home Best Actor Nominations. The film is considered by many accounts, to be one of the most controversial films in the eastern hemisphere.[8]

The English language thriller, based on the true story of the Gujarat Riots of 2002, was initially banned in India, caused a storm of protests and bomb threats, and later garnered praise from the New York Times, Variety, Indiewire and many others.[9] It was shown in New York as part of the Museum of Modern Arts’ India Now film exhibition.[10] Donihue was nominated for Filmfare Awards for Best Screenplay and Best Story for Parzania. The film won the Screen Gem Award for Best Picture.

While at the same time, he was developing something revolutionary -

In 2010 Donihue’s epic four and a half hour interactive choose your own adventure film The Weathered Underground was released by Indican starring Heroes Brea Grant. The comic book inspired picture went on to become a small cult classic and is now shown as part of curriculum at many of the worlds best film schools. Considered one of the most daring voices to come out of the independent underground film scene, 

in 2014 Donihue directed another socially driven action comedy, The Bang Brokers, which is currently headed for distribution.

Mr. Donihue’s love for music driven short films continues, having recently directed over 30 music videos / short films in the last two years for EDM acts such as Moguai, Mark Sixma, Thomas Gold and EDM legend John Dahlback.

Below is a collection of poems and stills from the music videos from the last two years.

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The Gift: Music That Inspired the Film

Friedrich Nietzsche said it well, Without music, life would be a mistake. As filmmakers, we understand that music can play an important role in cinematic storytelling. It can emphasize emotions and experiences, shed light on directorial choices, and add layers to the world within a film when rightfully used. Music can even further the careers of filmmakers. Directors such as Martin Scorsese, Spike Lee, and David Fincher are a few of the directors featured in Filmmakers Directing Music Videos whose ventures in music videos are highlights in their directing careers. Music plays a key role in The Gift (watch trailer), as well. Not only does it further the film story, it also factored in the making of the film by creating the right atmosphere for the script and the edit. From Joy Division to The Kills, here are five songs that inspired The Gift. Enjoy.

Joy Division: “New Dawn Fades” from Unknown Pleasures

Foals: “Electric Bloom” from Antidotes

Interpol: “Untitled” from Turn on the Bright Lights

The Black Angels: “Manipulation” from Passover

The Kills: “Black Balloon” from Midnight Boom

interview with the utterly wonderful Natalie Neal

“Natalie photobook”

“Natalie photobook”

“In the Sky with Diamonds”

“from Seashells”

“Natalie photobook”

“Kate Nash for Pulp Zine”

“Invisible Veil”

“Invisible Veil”

“Feminine Mystique”

“Magic Kingdom”

“from Rose and Sophia”

When did you first start photographing?

I started photographing when I was 14 years old. I took a photography class at my high school my freshman year; that’s when I started working in the dark room. I borrowed my dad’s 35mm Pentax SLR that he bought in the 70s! I started by photographing still lifes and landscapes on my own for extra credit in my class.

What is your favorite camera to use to photograph?

I love photographing with the Pentax k1000. It is lightweight and gives you total control. Nothing is automatic and the images look great. I will always prefer film.

Where do the roots of your inspiration lie?

I like making lots of different ideas normally centred around being a kid, growing up, fantasy meets reality. I get lots of my ideas from my own experiences and memories and from cartoons or children’s books. I’m inspired by photos of my older sisters when they were teenagers, religious iconography and symbolism, the liner notes of my old CDs, good movies.

Can you tell us how you got into filmmaking?

While I was studying photography in college I met a lot of film students. I first got involved in the world of filmmaking working as an Art Director and Production Designer in short films, music videos, and commercials. I was focusing on fashion photography in college, so to start directing fashion films was a natural step for me. Right after I graduated college I wrote and directed my first short film “Rose and Sophia.”

You have a new short “Seashells” that is having its online premier this month! When did you first get the idea to make this film?

I wrote the script in 2012. In the years leading up to that, I had become really interested in how living an adult life, especially as a woman, is impacted constantly by the pressure to change your decisions based on how your body affects other people, or based on how you are treated because of your body. I decided to explore this concept using one of the earliest times I was uncomfortable in my body, growing boobs and getting my first bra. I collected first-bra-stories from a bunch of women I know and pulled all my favorite parts together for the script. I was excited to write something that explores how physical growth mirrors emotional development, and also to address the uncomfortable fact that society is sending mixed messages about our body’s relationship to shame.

What advice would you give to all the young creators around the world?

I would say make as much as you can with the time you have. And if you want to give up everything else and quit your job to create stuff, do it immediately rather than wait. Waiting is a mistake. The time is now! But before you make that decision you have to know that you would rather live as a failed artist than do something else, because that’s the kind of determination it will take to be successful, and if you aren’t, that’s the knowledge you need not to regret it.

Check out the trailer for her new short film Seashells here:

Photos by Natalie Neal ( insta: @natalieneal )

tumblr: natalieneals

Interview by Remi ( @ghostgirlly )


SHE4MarriageEquality (SHE4ME); is a five minute video starring Nicole Pacent, Mike C. Manning, Gabrielle Christian, Steve Tyler, Barbara Niven and features several cameos by actors who have portrayed seminal LGBT roles.

SHE4ME is set against a song called “She” by Jen Foster who makes a cameo appearance as “The Wedding Singer”. The song has been a favorite within the lesbian community for over a decade and is often used in commitment ceremonies. She has been reworked specifically for this project, by renowned music producer Eve Nelson.

SHE4ME was directed by Nicole Conn, who was officially crowned the #1 LGBT Feature film Writer/Director of all time by Wolfe Video in January 2014. Conn is best known for her groundbreaking multiple award winning lesbian films, Claire Of The Moon (1992); little man (2005); Elena Undone (2010); and A Perfect Ending (2012); has once again delivered in this poignant yet epic music video that celebrates Marriage Equality. #LoveIsLove

Arcade Fire Seeks More Than a Rockumentary With ‘The Reflektor Tapes’

“No matter how much I love a band,” Win Butler said, “I still find concert films a little boring.”

So when Mr. Butler, the frontman and co-founder of Arcade Fire, decided that his group was going to make a documentary about the recording and touring of its 2013 album, “Reflektor,” he wanted to find an unconventional approach. The record, which marries Caribbean rhythms to a new wave-dance music feel, represented a new direction for the Montreal rock band, whose previous release, “The Suburbs” (2010), had won the Grammy for album of the year.

The band turned to Kahlil Joseph, a first-time feature director best known for his striking, abstract videos for adventurous pop stars like the rapper Kendrick Lamar, the British avant-R&B singer FKA twigs, and the electronic artist Flying Lotus — clips that create mood and texture, rather than simply illustrate song lyrics or add dance sequences. Mr. Joseph’s work has also been part of a group show curated by Kara Walker at the Institute of Contemporary Art in Philadelphia, while his installation “Double Conscience” recently showed at the Museum of Contemporary Art, Los Angeles.

“I was curious that they saw me fitting into their current evolution,” Mr. Joseph said in an email. “I was really impressed when I saw them perform live and realized this was totally a new process with new boundaries, and I wanted to see where the journey was going to lead.”

The resulting film, “The Reflektor Tapes,” is an impressionistic voyage through the album’s creation, with nonlinear jumps in time from Arcade Fire’s preliminary writing sessions in Jamaica in 2012 through arena shows in London and Los Angeles in 2014. Dialogue is sparse — occasional aphorisms like “People have false expectations about what love is” or “You have to combine with a new force to make a new kind of wave” float by in voice-over — and long stretches go by without the band appearing on screen.

“It might be frustrating for a fan,” Mr. Butler acknowledged, “but it feels like a truer version of getting a window into how the band works.” (The documentary will be shown first on Sept. 12 at the Toronto International Film Festival, before opening in theaters on Sept. 23.)

Over lunch in the restaurant of the Ace Hotel in Manhattan, he was soft-spoken and personable, laughing admiringly at the eccentricities of his new part-time hometown, New Orleans. He was as low-key as a 6-foot-4 rock star, wearing a gaucho-style flat-brim hat, could hope to be. He explained that the movie project wasn’t planned when the album process started but evolved as the sound and aesthetic of “Reflektor” came into focus.

In Jamaica, the band members started working in a castle, filming themselves because the location was so distinctive. They kept shooting, with no determined plan, as they continued recording in Montreal and New York, though it required some delicate negotiation. Mr. Butler cited the disastrous results of “Let It Be,” the Beatles’ 1970 movie of the band members recording an album, which essentially sealed their breakup. “They made that mistake so we don’t have to,” he said. For minimal intrusion, the group’s recording engineer ran the camera for the behind-the-scenes material.

When the album was finished, they booked some club dates under the name “The Reflektors,” including a performance at an old disco called Salsatheque in Montreal; they asked Mr. Joseph to document it.

“It kind of felt like we were a new band,” Mr. Butler said. “Starting in clubs and working our way up, burning it down and building the house back up again.”

After discussing the idea of working on a music video with Mr. Joseph, the band decided to turn the footage into an actual film while planning a concert in Haiti during Carnival. They had long wanted to shoot in Haiti — the Arcade Fire singer and multi-instrumentalist Régine Chassagne, Mr. Butler’s wife, was born to Haitian parents, and Mr. Butler described his first trip to Carnival as “life-changing.” (In 2010, they had planned to film there with the director Jonathan Demme, but a few days before their departure, the country was ravaged by an earthquake.)

“If we were going to do it, this was the time to pull it together,” Mr. Butler said. “But to commit to filming in Haiti meant that we had to make a film, because it’s logistically really complicated. We’re definitely not going to recoup what it cost to get everyone there.”

Everything was then turned over to Mr. Joseph, who is based in Los Angeles and who has worked with the visionary, enigmatic director Terrence Malick. “We wanted to see what Kahlil would do with the form,” Mr. Butler said, “because rock documentaries are pretty formulaic, and I knew that was not what he was going to do. His process is the closest I’ve seen to the process of making a record — trying to get this little spark of chemistry between players, and then everything gets built around that.”

According to Mr. Joseph, his ambition for “The Reflektor Tapes” was “for it to be a new kind of music film and not just a film about music.”

A recent boom in music documentaries has produced the Oscar winners “Searching for Sugar Man” and “Twenty Feet From Stardom” and this year’s acclaimed “Amy” and “What Happened, Miss Simone?” With “The Reflektor Tapes,” Arcade Fire is attempting something more experimental and kaleidoscopic. Mr. Butler, though, pointed to some of his favorite bands — the Clash, the Rolling Stones — and said that his own sense of their greatness had come from a collage of clips and videos over the years, from accumulated fragments rather than any single, definitive document.

“I feel like this film really isn’t for me,” he said. “I would be suspicious if I wanted to watch a film about myself. But I think watching it in 15 or 20 years will be really interesting.”

Win Butler’s Favorite Rock Documentaries

“Standing in the Shadows of Motown,” 2002 “I got really into Motown music in my early 20s, and you wonder, how did this many perfect songs come from this one place? So I loved learning about these [background] musicians that no one ever heard of.”

“Stop Making Sense,” 1984 “As concert films go, it’s pretty perfect. A band like us could only exist because a band like Talking Heads existed.”

“Sympathy for the Devil,” 1968 “Everyone pulls out the recording [of the Rolling Stones song] “Sympathy [for the Devil],” but [in] the rest of the film Godard, [the director Jean-Luc Godard] got really out there, way more out there than we got with this film.”

“Marley,” 2012 “I just really liked seeing old footage of someone you know that well [Bob Marley], someone that famous and influential where you really haven’t seen a lot of their home movies and stuff.”

“Dont Look Back,” 1967 “That was the first thing I saw that was a fly on the wall at a historic event [Bob Dylan’s 1965 tour of England] — you always see the event itself, but this went backstage, and it’s really boring or something weird happens, and you felt the dead time in between and the sense of atmosphere.”


Stealing Moments on Set with @simonchaudoir

To see more playful portraits, follow @simonchaudoir on Instagram.

The Instagram photos of a fellow film director first inspired Simon Chaudoir’s (@simonchaudoir) playful, sometimes macabre, portraits. “For a long time I had the image in my mind of myself lying on a studio floor having been crushed by a falling lamp,” explains Simon, who leads a harried, globetrotting life directing music videos and commercials. “It expressed something that I felt about my working life. I realized that Instagram gave me the platform to explore such images.“

With filmmaking equipment and backdrops at his disposal, Simon crafts jarring photos that draw from elements of Renaissance paintings, surrealist photography and the avant-garde. “Way, way, back I studied Fine Art,” says Simon of his university years. “This was the first time since then that I had the pleasure of producing something purely for my own pleasure and amusement.”

“Sometimes when I accept a job, knowing the equipment that’s going to be used and the people involved, I’ve already conceived what the picture of the day will be,” he says. But the photos themselves tend to come together quickly. “All my pictures are taken in snatched moments when I am working for other people,” he says, “lunch-breaks, lulls in shooting or when we wrap.”


The official website for the stage play based on the Persona 4 Arena (Persona 4: The Ultimate in Mayonaka Arena) fighting game unveiled three of the cast members in costumes.

The three cast members are as follow:
Asami Yoshikawa as Elizabeth
Eiji Takigawa as Kanji Tatsumi
Ryō Hirano as Yosuke Hanamura 

The original PlayStation 3 and Xbox 360 game features characters from Atlus’ Persona game franchise. The stage play will run in the Tokyo Geijutsu Gekijō Playhouse from December 19 to December 23.

Film Director Shutaro Oku directed the Persona 3 and Persona 4 stage plays before accepting this new assignment. Jun Kumagai, a writer on the Persona 4 television anime projects and the Persona 3 movies, is penning the script. Franchise regular Shoji Meguro is scoring the music with Atsushi Kitajō from Atlus.