“Modern mass culture, aimed at the ‘consumer’, the civilisation of prosthetics, is crippling people’s souls, setting up barriers between man and the crucial questions of his existence, his consciousness of himself as a spiritual being.”
― Andrei Tarkovsky, Sculpting in Time
Stampedes and Scaffolds for Jon Bellion
Music Video DC by me
Full video in bio
Director : Kaito
DP : Iain Trimble
Production Designer : Cody Fusina
Art Director : Mitch Dillon
Creative Director: Ben Cadwell
Creative Director: Onda
Editor : Nasser Boulaich & Kaito
Colorist : Keyhan Bayegan
Marketing Lead : Terenze Coleman
Executive Producer : Lex Dewart, Galileo Mondol, Lopes
Production Company : BT Studios
Full Credits on Vimeo
This was a wild ride but one absolutely worth taking. I got to immortalize one of my music idols on film. Working with Anna Calvi and Iggy Pop on “God's Lonely Man” was one of those rare moments where everything feels slightly surreal. Fast, intense, a little chaotic, but fueled by pure love for the work.
Huge thank you to everyone below who helped pull this together in record time. 🙏
Production: @thecornershop.tv
Director: Luigi Calabrese
Director Rep: @mrandrereid
Founder / Managing Director: Anna Hashmi
Executive Producer: Jay Shapiro
Producer: Jay Shapiro
Line Producer: Maryann Duffy
Associate Producer: Dafna Harrison
Production Supervisor: Dominic Easter
Director of Photography: @iaintrimble
1st Assistant Camera: Willem van Vark
2nd Assistant Camera / Loader: Jen Galipault
Gaffer: Jonathan Bowens
Best Boy Electric: Salim Sangary
Electric Swing: Chris Duarte
Key Grip: Courtney Poyser
Best Boy Grip: Cliff Wheeler
Director’s Cut Editor: Lucian Bernard
Director’s Cut Colorist: Keyhan Bayegan
Art Director: Damian Fyffe
Movement Director: Nicole Perry
VTR: Trey Buonvecchio
Playback: Chyna Tolliver
Hair / Make-Up: Mariana Hernandez
Wardrobe: Robin Ryant
Tailor: Tina Cumbie
HE GETS US — “More”
Today I turn 40.
For years I’ve felt like I’ve been staring down the barrel of this mid-life moment. There’s the “ego” part of me that asks, “What have I done with my life?” And then there’s the “essence” part that asks, “Have you been faithful with the gift that’s been given you?”
The nuance is subtle but polar opposite in effect. One says, “climb on the hamster wheel and run faster.” The other says, “get off it.”
I’d be lying if I said the ego voice isn’t loud — or hasn’t had its benefits — pushing for more clicks, more recognition, more accumulation (just ask my wife). That voice feels very American tbh — no shade thrown, just facts (and I’m guilty). It feels baptized in a culture that sells the lie, “the one who dies with the most toys wins,” very convincingly — with a million-dollar smile.
And let’s be honest, a lot done in the name of faith in this country has fed that machine. The American Industrial Church Complex has often mirrored the very systems it was meant to resist — power, influence, image, hypocrisy. It’s often looked more like empire than love. That tension is part of why this film felt personal.
Because beneath the noise, I still hear something quieter. A whisper telling me to slow down. Get off the devices. Sit in stillness. Like my dad still does: “sit on God’s lap.” — he would say. I’m learning to tune my senses to the One who reminds me who I actually am — not a brand, not a hype reel, not a vibey Instagram profile — but a (very flawed) yet deeply loved kid, learning to grow up without losing his childlikeness.
This film exists because of that tension.
We wanted it — launching on perhaps the biggest excess-machine of them all, the Super Bowl — to open with that visceral reaction: “that’s a vibe.” And then slowly unravel into something darker. Because, more often than not, that’s what excess does: it starts as an irresistible rush and ends in quiet emptiness.
“MORE” isn’t a condemnation. It’s a question.
Maybe even an invitation.
There’s a hole in us that “MORE” cannot fill.
Just ask Marty Supreme.
Credits in comments.
Full res in bio.
Shot on 4-perf @kodak_shootfilm
Additional footage by FilmSupply & Stalker
