In a recent interview, ROSÉ – ‘toxic till the end’ M/V director Ramez Silyan opened up about his creative journey with Rosé, highlighting her deep involvement in the process—from editing to shaping the visual narrative. He also shares the movie inspirations behind the shoot, his personal directing philosophy, and the evolving aesthetics of K-pop that continue to influence his work.
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The filming of Rosé’s “Toxic Till the End” music video was a truly special experience. She was more than just a performer—she was deeply involved in the editing process and showed genuine dedication to the direction and vision I had envisioned.
One of the most memorable moments was the kiss scene in front of the fireplace. It wasn’t originally in the script, but the natural chemistry between the two actors made the moment feel just right. Looking back, it stands out as one of the best experiences of my career in music video production.
We shot in a beautiful garden on Long Island, New York, during autumn, with leaves falling gently all around us. The weather, though completely out of a director’s control, brought an unpredictable element that enriched the mood of each scene. I can still vividly recall the lakeside conversation and the chase across the garden.
Our biggest hurdle came just days before filming, when our location permit was nearly revoked. It was an iconic place featured in works like Gossip Girl, Cruel Intentions, and North by Northwest, so finding an alternative was almost impossible. I wrote directly to the mayor, and thanks to his support, we were able to complete the shoot successfully.
The statues throughout the grounds left a lasting impression. We couldn’t capture all of them on camera, but the stunning trees remain one of my favorite visual elements from the shoot.
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As a director, I believe the first and foremost task is to establish a clear tone and mood from the outset. Every project begins with its own story, and each video should pursue a distinct aesthetic vision. Above all, I value diversity — I want each project to reach its own conclusion rather than follow the same formula. My role is to craft a compelling narrative that allows the artist to express their emotions authentically.
For example, in the music videos I directed for Naverhood’s “Pretty Boy” and Post Malone’s “Mourning,” I tailored each story specifically around the artist. By approaching the scenes with deep empathy, the results became rich and layered with meaning.
Inspiration often comes from everyday life. It might start with a scene from a movie or a passage from a book that resonates with me or sparks a particular idea. I also love incorporating homage into my work. But to me, homage isn’t just quoting a scene that moved me — it’s a way to reinterpret that scene and extend the narrative in a fresh, meaningful way.
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K-pop holds a special place in my work. Compared to other music industries, its relentless pursuit of perfection and dense visual storytelling are truly striking. A music video, after all, is a visual vessel—something that can embed a song into memory for a lifetime. That’s why I focus not only on immediate reactions but also on whether the work will still resonate years down the line.
K-pop visuals are in constant evolution, always experimenting and pushing boundaries. It’s fascinating to see how the genre translates global aesthetics into something uniquely its own. Personally, I find myself more drawn to visual parallels than cultural differences. Trends in both the West and Asia are in conversation with each other, and at their intersection lies an ever-expanding field of creative possibilities—for me, that’s where the real excitement begins as a director.
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The images are stills from the 2017 film Phantom Thread, a period drama set in 1950s London. It stars Daniel Day-Lewis as renowned dressmaker Reynolds Woodcock and Vicky Krieps as Alma, his muse.
The image is a still from Maya Deren’s 1944 experimental film “At Land”. It depicts Deren herself as the protagonist in a dreamlike sequence involving a chess game.
The image shows a scene from the 2023 film Saltburn, directed by Emerald Fennell. The character Felix Catton, played by Jacob Elordi, is depicted sitting under a tree with a flat bicycle tire.
The image shows Margaret Qualley as Felicity in the movie Poor Things. The film, directed by Yorgos Lanthimos, is a feminist and satirical reimagining of the Frankenstein story.
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In a recent interview, ROSÉ – ‘toxic till the end’ M/V director Ramez Silyan opened up about his creative journey with Rosé, highlighting her deep involvement in the process—from editing to shaping the visual narrative. He also shares the movie inspirations behind the shoot, his personal directing philosophy, and the evolving aesthetics of K-pop that continue to influence his work.
—
The filming of Rosé’s “Toxic Till the End” music video was a truly special experience. She was more than just a performer—she was deeply involved in the editing process and showed genuine dedication to the direction and vision I had envisioned.
One of the most memorable moments was the kiss scene in front of the fireplace. It wasn’t originally in the script, but the natural chemistry between the two actors made the moment feel just right. Looking back, it stands out as one of the best experiences of my career in music video production.
We shot in a beautiful garden on Long Island, New York, during autumn, with leaves falling gently all around us. The weather, though completely out of a director’s control, brought an unpredictable element that enriched the mood of each scene. I can still vividly recall the lakeside conversation and the chase across the garden.
Our biggest hurdle came just days before filming, when our location permit was nearly revoked. It was an iconic place featured in works like Gossip Girl, Cruel Intentions, and North by Northwest, so finding an alternative was almost impossible. I wrote directly to the mayor, and thanks to his support, we were able to complete the shoot successfully.
The statues throughout the grounds left a lasting impression. We couldn’t capture all of them on camera, but the stunning trees remain one of my favorite visual elements from the shoot.
—
As a director, I believe the first and foremost task is to establish a clear tone and mood from the outset. Every project begins with its own story, and each video should pursue a distinct aesthetic vision. Above all, I value diversity — I want each project to reach its own conclusion rather than follow the same formula. My role is to craft a compelling narrative that allows the artist to express their emotions authentically.
For example, in the music videos I directed for Naverhood’s “Pretty Boy” and Post Malone’s “Mourning,” I tailored each story specifically around the artist. By approaching the scenes with deep empathy, the results became rich and layered with meaning.
Inspiration often comes from everyday life. It might start with a scene from a movie or a passage from a book that resonates with me or sparks a particular idea. I also love incorporating homage into my work. But to me, homage isn’t just quoting a scene that moved me — it’s a way to reinterpret that scene and extend the narrative in a fresh, meaningful way.
—
K-pop holds a special place in my work. Compared to other music industries, its relentless pursuit of perfection and dense visual storytelling are truly striking. A music video, after all, is a visual vessel—something that can embed a song into memory for a lifetime. That’s why I focus not only on immediate reactions but also on whether the work will still resonate years down the line.
K-pop visuals are in constant evolution, always experimenting and pushing boundaries. It’s fascinating to see how the genre translates global aesthetics into something uniquely its own. Personally, I find myself more drawn to visual parallels than cultural differences. Trends in both the West and Asia are in conversation with each other, and at their intersection lies an ever-expanding field of creative possibilities—for me, that’s where the real excitement begins as a director.
—
The images are stills from the 2017 film Phantom Thread, a period drama set in 1950s London. It stars Daniel Day-Lewis as renowned dressmaker Reynolds Woodcock and Vicky Krieps as Alma, his muse.
The image is a still from Maya Deren’s 1944 experimental film “At Land”. It depicts Deren herself as the protagonist in a dreamlike sequence involving a chess game.
The image shows a scene from the 2023 film Saltburn, directed by Emerald Fennell. The character Felix Catton, played by Jacob Elordi, is depicted sitting under a tree with a flat bicycle tire.
The image shows Margaret Qualley as Felicity in the movie Poor Things. The film, directed by Yorgos Lanthimos, is a feminist and satirical reimagining of the Frankenstein story.