
The track was about escape — luxury, ambition, a little youthful chaos. The plan was to shoot it where it was named. Then visas, budget, and a shrinking calendar took Costa Rica off the table.
Most directors would have shrunk the vision to fit the constraint. I did the opposite: kept the fantasy exactly as big, and rebuilt the whole world in Hawaii — beaches, jungle, a rooftop with the right sky — so nobody watching would ever ask where it was really filmed.
The constraint became the concept.
Opening scene · a goat in first classI storyboarded a narrative arc that mirrored the lyrics: an aspirational fever-dream that opens with a straight-faced gag — the artist boarding a commercial flight with a live goat and a cabin of stewardesses — then spills out into the islands.
From there: a rooftop performance in a Dior jungle-print set against a bruised purple sky; high-energy jet-ski and 4-wheeler runs down the beach; and an intimate porch scene shot with dreamlike blur to land the comedown. One tonal thread — luxury with a wink — held it together.
The narrative arc, scene list, and shot logic — from the goat gag to the porch fade.
A bold tropical palette and the graphic overlays (horns, arrows) that gave it internet-native edge.
Hawaiian beaches, jungle, and a rooftop cast to double convincingly for Costa Rica.
Dior jungle set on the rooftop, designer moto and swim looks for the action beats.
Directed the DP: wide aerials for scale, tight performance for emotion, slow-mo on the action.
Coached the on-camera energy, then supervised the edit and the sun-soaked color grade.



The video carried the record. It amplified the song's themes, resonated with Bankrol's audience, and turned a logistical dead-end into one of his most-watched visuals.
I direct brand worlds for founder-led names — coaches, creators, artists. We start with a paid consult and find the break before we fix it.