The unfinished cut: Why music videos thrive on collaboration and play

Playfulness feels like a radical act right now. People are desperate for work that feels alive. 

For me, that aliveness comes from a willingness to resist the urge to lock everything down too early. It’s about protecting uncertainty for as long as possible, and remaining open, so that something unexpected, emotional or even vulnerable can emerge.

Once an artist feels safe enough to be honest, they become more willing to experiment and suggest ideas that might be strange for them to share initially.

When people think about play, they usually think about being funny or being silly. But when I work with artists, it’s about going deeper than just having fun on set. It’s about being curious and establishing trust to create the space and conversations where freedom and play is allowed, before everything becomes too controlled or overthought.

Long conversations, loose storyboards and playing with concepts led to the final outcome for The Weeknd's Blinding Lights promo. 

Every time I direct a music video, it starts with a personal conversation with the artist. Before treatments, references or the production design, I want to understand where the artist is emotionally. Usually, the project is tied to something personal that’s happening in their life – their heartbreak, political anxieties, their exhaustion or excitement. Before I even start writing, I’ll share scenes from older films with them that match the emotional language. It isn’t about picking visual references but about making sure we’re feeling the same thing. 

You have to leave the door open to collaboration and a little magic, when you commit to play in the creative process.

Once an artist feels safe enough to be honest, they become more willing to experiment and suggest ideas that might be strange for them to share initially. Establishing that trust is foundational for us to be able to play, and it’s vital to protect the artist’s emotional truth and allow them to change their mind halfway if something no longer feels true. I try to follow their lead. Ultimately, I always want to be respecting their artistry. 

In-person edits and collaboration with artist Grimes helped Tammi create the final story for her Player of Games music video. 

Because my background is in editing, I often get very hands-on involved in editing my own music video work. I understand music through rhythm first. If a song resonates, I can immediately see the visuals and I create a first cut in my head before writing a single word. 

And when I’m editing I try to remain open to the possibility of a new direction and for “happy accidents” to come through. Some of my best ideas only come together when they collide unexpectedly. You have to leave the door open to collaboration and a little magic, when you commit to play in the creative process.

When I was making Blinding Lights with The Weeknd, I didn’t present a polished, finished cut to him at first. Instead, I put together a loose 20-minute export of the best raw footage and sat down with him to see what he responded to the most. He pointed out moments he liked, and we talked about them, and those conversations became the foundation for the video’s structure. For two months, we passed cuts back and forth, testing linear and non-linear narratives. Until together, we decided to do something that would feel more like a trailer of a movie.