We comply with the GDPR and any data held by us is held on the following basis provided in the GDPR, Legitimate Interest or Contract and is only such data - typically name, email, phone number and address - necessary for us to contact you. If you have any issues or object to us holding your data and would like us to delete it please email spencer@thesweetshop.tv.

The Making Of: 17

The Making Of: 17


Sweetshop Director’s Assistant Henry Crisp recently directed the video for Tom Wilson Kellet’s ‘17’ which has landed in Promo News’ most popular, and received four stars on David Reviews. It’s shot within a minutely crafted dollhouse structure, and Wilson Kellett is a huge trapped figure. As the camera slowly moves through various rooms as a black liquid starts to consume everything inside. Below Henry discusses the making of the video.

What was the idea behind the video and how did you get involved?

I’ve known Tom for a while, and after his last album had some success on Spotify, he decided he wanted to do a video for his next release. The basic premise is our artist (Tom) is trapped in this dollhouse like structure and the camera sort of moves through all these different rooms. I had the idea floating around for a while and thought that it would work well with Tom’s style so I got in contact with a production designer that I had worked with before and we started working on designing the miniatures.

Tell us about the filming…

We spent months designing and building the sets so when it came to actually shooting, the majority of the hard work had been done. It was a small crew and we were working in a little make shift studio. There was a bit of trial and error to start out with, but once we got going it all went pretty smoothly.

How would you describe the tone/style of the results?

The song is pretty eerie and slow, so I really just wanted to create video that matches the tone of the song rather than tells any sort of narrative.

What was the process of building the sets?

All of the structures were made by our production designer Corey. He built all of them all in his flat over the course of several months. We started by putting together a load of mood boards that showed the overall style we wanted, then it was a case of determining the dimensions, layout and furnishings, then Corey got started on putting it all together.

What challenges did you come across?

I’ve never worked with miniatures before, so it took us a while to work out how to shoot the sets in a way that made them feel real, but once we got into the swing of things we were able to get some interesting footage.

Any plans to film anything else?

I’ll soon be starting on another promo for a friend’s band. I’ll probably stay away from miniatures for this next one.

Listen to Tom Wilson Kellett’s music on Spotify here.