Fact-checked by Grok 2 weeks ago

Tim Pope

Timothy Michael Pope (born 12 February 1956) is a renowned for pioneering music videos that defined the visual style of 1980s and 1990s , most notably through his extensive collaboration with . Over four decades, Pope has directed more than 20 videos for —including iconic works such as "Close to Me" (1985), "Just Like Heaven" (1987), "Lovesong" (1989), and "" (1992)—establishing a signature aesthetic of , whimsy, and gothic imagery that amplified the band's atmospheric sound. His broader portfolio includes boundary-pushing videos for artists like , , , , and , which aired prominently on and influenced the medium's artistic evolution. Beyond music videos, Pope transitioned to feature films, directing : (1996), a supernatural action sequel, and has worked in commercials, documentaries, and live concert films. An award-winning filmmaker, his contributions extend to and an upcoming , I Shoot Rock Stars, chronicling his journey from fan to director.

Early Life and Career Beginnings

Childhood, Education, and Influences

Timothy Michael Pope was born on 12 February 1956 in , . Details on his family background remain limited in public records, with emphasis in available accounts on his independent pursuit of creative interests from a young age. Pope's fascination with emerged early, driven by a desire to blend visual storytelling with music. In his teens, he enrolled in film studies at Ravensbourne College of Art in , where he developed foundational skills in the medium. Complementing formal education, Pope engaged in hands-on experimentation by borrowing camera equipment—often from professional contacts—to capture live performances of emerging rock bands, such as and , in the late 1970s. This practical, self-directed approach underscored his early recognition that music videos could merge his primary passions for and , including admiration for artists like .

Initial Entry into Film and Music

Pope's entry into the film industry began in the late 1970s after studying at Ravensbourne College of Art in , where he developed an interest in through hands-on technical training. One of his initial professional roles involved operating cameras for a media training company that produced content for politicians, providing him access to locations such as and building foundational skills in equipment handling and live production. This position allowed him to gain practical experience in a structured environment, emphasizing technical proficiency over formal credentials. Transitioning from these entry-level tasks, Pope demonstrated resourcefulness by borrowing company cameras in the evenings to film unauthorized footage of live performances by emerging and bands, including and , during the vibrant British music scene of the late 1970s. These self-initiated shoots, conducted without official permissions, captured the raw energy of the era's acts and honed his abilities in spontaneous directing and editing under resource constraints, reflecting a self-taught ascent driven by persistence rather than established networks. By the early 1980s, this groundwork evolved into paid opportunities in production support, laying the technical foundation for his subsequent shift toward work, though without yet involving high-profile assignments. His approach prioritized empirical skill-building through repeated exposure to live events, distinguishing his path from reliance on institutional endorsements.

Music Video Directing Career

Early Videos and Breakthrough Assignments

Pope's entry into music video directing began in 1981 with several promotional clips for the synth-pop duo , marking his debut in the medium. His video for "Tainted Love," released that year, captured the band's performance in a stark, minimalist style that emphasized emotional intensity and synthetic aesthetics, aligning with the track's chart-topping success on both and markets. Similarly, the "Sex Dwarf" video, also from 1981 and filmed at Studios in , pushed stylistic boundaries through explicit imagery including elements, raw meat, and a dwarf performer, which garnered notoriety for its unfiltered realism and led to bans on some broadcasters due to content concerns rather than artistic dilution. These early works demonstrated Pope's resourcefulness with limited budgets, often borrowing equipment to achieve provocative visuals that prioritized raw expression over polished production. Expanding his portfolio in 1982–1983, Pope directed videos for acts like The Psychedelic Furs' "Love My Way," employing surreal narrative elements to evoke alienation, and ' "," which integrated medieval-themed choreography and to mirror the song's quirky escapism, contributing to its rotation and commercial breakthrough. He also helmed ' cover of "" in 1983, utilizing shadowy, gothic visuals that amplified the track's psychedelic tension and secured airplay on emerging video channels. These assignments showcased Pope's knack for low-budget ingenuity, such as improvisational sets and practical effects, which allowed visual experimentation without reliance on high-end resources, helping establish his reputation for innovative, artist-driven storytelling in the nascent era. A pivotal breakthrough came in 1984 with Queen's "It's a Hard Life," filmed over two intensive days in June at a , featuring elaborate operatic costumes, period sets, and Freddie Mercury's dramatic staging that evoked excess to complement the song's melodic grandeur. This project elevated Pope's profile through its technical ambition—coordinating large casts and intricate choreography on a compressed schedule—and its heavy rotation on , underscoring his ability to scale up from constraints to major-label spectacles while maintaining artistic risks like homoerotic undertones as deliberate creative choices. Further solidifying early momentum, his 1984 video for Talk Talk's "It's My Life" employed stark black-and-white and isolation motifs, reflecting the band's art-rock and achieving widespread broadcast that highlighted Pope's influence on video during 1982–1985.

Collaboration with The Cure

Tim Pope's collaboration with began in 1982 with the music video for "Let's Go to Bed," marking the start of a long-term partnership that defined much of the band's visual aesthetic. Over the subsequent years, Pope directed 21 music videos for the band, more than for any other artist, spanning from early singles to key releases in the and . This body of work emphasized surreal imagery and understated humor, often featuring frontman in exaggerated, dreamlike scenarios that complemented the band's gothic pop sound without resorting to overt commercial gloss. Key videos from this period include "The Love Cats" (1983), which incorporated playful feline motifs and domestic absurdity; "Close to Me" (1985), filmed with the band crammed into a wardrobe tumbling toward the sea to evoke themes of emotional confinement; and "Why Can't I Be You?" (1987), showcasing identity-swapping antics infused with whimsical distortion. Pope's approach often involved low-budget ingenuity, such as practical effects and location shoots—like the cliffs of for "Just Like Heaven" (1987), shot alongside studio work at —to prioritize narrative quirkiness over polished production. These elements fostered a creative synergy with , where Pope's non-conformist style aligned with Smith's vision, allowing for revisions and improvisations that captured the band's introspective yet eccentric ethos, though the process occasionally involved logistical challenges akin to "cat-herding" due to the group's evolving lineup and perfectionism. Pope's videos significantly contributed to The Cure's mainstream breakthrough, particularly in the United States, by providing distinctive visuals that gained heavy rotation on during the mid-1980s. Tracks like "In Between Days" (1985) and "Friday I'm in Love" (1992), with their innovative framing and homages to early cinema (e.g., influences in the latter), helped translate the band's sound into a compelling visual brand that appealed beyond niche audiences, aiding albums such as (1985) in crossing over commercially. While praised for enhancing the band's artistic integrity—eschewing formulaic tropes for authentic —some efforts faced band revisions to refine tone, reflecting a commitment to substance over expediency. This partnership extended beyond singles to concert films like (1986), further solidifying Pope's role in curating The Cure's enduring iconography.

Work with Other Prominent Artists

Pope directed music videos for in 1984, including "," featuring surreal imagery of the band performing amid abstract, dreamlike sets that emphasized the song's ethereal rock elements. He also helmed "" for the same band, shot on a foggy riverbank to evoke haunting nostalgia, which became an staple and contributed to the track's chart success on the album . These works showcased Pope's ability to blend low-budget ingenuity with atmospheric visuals, adapting to the genre's introspective tone without relying on high production values. In the mid-1980s, Pope collaborated with on videos like "" (1985), utilizing volcanic eruption motifs inspired by to mirror the song's apocalyptic sound, filmed with practical effects under tight schedules that highlighted his resourcefulness in evoking dread through . For "" (1983), a cover of track, he directed footage in featuring the band and guest wandering canals, prioritizing location authenticity over narrative polish, which aligned with the goth-punk aesthetic but faced challenges from weather disruptions during shoots. These projects demonstrated versatility in handling dramatic, performance-driven clips across the spectrum, often prioritizing artistic mood over commercial gloss. Pope's work with included "It's My Life" (1984), an innovative response to MTV's lip-sync restrictions, incorporating wildlife documentary footage intercut with abstract band shots to critique performative superficiality, which elevated the synth-pop single's introspective lyrics and garnered critical praise for conceptual boldness despite limited effects budgets. He followed with "Life's What You Make It" (1985), using fragmented narratives and optical illusions to reflect the band's evolving art-rock style, though network edits sometimes diluted the original vision for broader appeal. Such techniques underscored Pope's genre-spanning adaptability, from electronic to experimental , aiding artist promotion in a competitive video era. With Paul Weller's , Pope directed "" (1983), capturing summery escapism through road-trip sequences that integrated live performance, boosting the soul-infused track's radio crossover. "" (1984) featured moody, jazz-tinged visuals with Weller in contemplative poses, while "" (1984) employed warm, romantic framing to match its upbeat sound, all executed with efficient one-day shoots that maximized stylistic impact under modest funding. These efforts highlighted his proficiency in and pop, diversifying his portfolio beyond darker rock veins. Pope worked with on several 1980s videos, including the single-take "Touch the Night" (1987) from , portraying Young as a bumbling reporter in a continuous shot that satirized media fakery, pioneering unbroken video techniques despite technical risks like camera malfunctions. "Wonderin'" (1983) with the Shocking Pinks used playful, synth-driven antics to fit Young's experimental phase, filmed in one day to capture spontaneous energy. Later, "This Town" with emphasized character-driven humor, with Young embracing scripted roles, illustrating Pope's success in tailoring rock narratives to promote album sales amid varying budgets and Young's improvisational style. Extending into electronic territory, Pope directed David Bowie's "Time Will Crawl" (1987) for , blending apocalyptic themes with performance clips and subtle effects to underscore the pop-rock track's urgency, though constrained by era-specific production limits that favored narrative over spectacle. In the 1990s and beyond, he helmed "Slash Dot Dash" for in 2004, an early viral hit featuring glitchy, high-speed editing synced to rhythms, which amplified online buzz through innovative rather than traditional play. These later works affirmed Pope's enduring versatility, bridging innovation with multimedia, often yielding promotional successes tied directly to his adaptive visual strategies across rock, punk, and .

Brief Foray into Performing

The "I Want to Be a Tree" Project

In 1984, Tim Pope released the single "I Want to Be a " on , a track he wrote and sang as a Syd Barrett-inspired novelty rooted in absurdist whimsy and personal eccentricity rather than commercial musical aspirations. The recording featured instrumentation performed entirely by members of , including , who contributed to its production during a period of collaboration between Pope and the band. The B-side, "The Double Crossing of Two-Faced Fred," complemented the lead track's quirky tone, emphasizing experimental playfulness over polished pop structure. Pope self-directed the accompanying music video, which incorporated cameo appearances from prominent figures such as , members of , and , and , blending low-budget surrealism with insider music industry nods. Released in 7-inch and 12-inch formats, the single achieved negligible chart performance and received limited media attention, often described as overlooked despite its ties to established artists. To promote it, Pope performed a single live gig supporting , marking his only known onstage appearance as a frontman. The project served as a brief, self-initiated foray into performing, ultimately underscoring Pope's directorial prowess as his primary strength; its intentional levity and swift lack of traction prompted a return to behind-the-camera work without further musical releases.

Feature Films and U.S. Expansion

Directorial Feature Debuts

Tim Pope's directorial feature debut was : City of Angels, released on August 30, 1996, by . The film, a action thriller written by , stars Vincent Pérez as Ashe Corven, a resurrected mechanic seeking vengeance for his son's murder, alongside , , and . Produced on a $13 million budget, it grossed $9.785 million in its opening weekend to claim the number-one spot at the North American before earning $17.9 million domestically overall. This modest commercial performance reflected Pope's shift from concise music video formats to sustaining narrative tension over 84 minutes, where his signature visual aesthetics—dark, gothic imagery and dynamic framing honed through collaborations like those with —provided stylistic strengths but highlighted adaptation challenges. Transitioning from short-form directing, Pope emphasized atmospheric visuals and symbolic motifs, such as crow-guided and , to evoke the original film's poetic theme. However, the production faced significant hurdles, including reported studio interference during , where executives altered Pope's initial cut to streamline pacing and amplify action sequences, reducing runtime and depth. Pope later described this as "considerable interference," which fans and retrospective analyses attribute to diluting the film's ambitious, transcendent elements into a more conventional sequel formula. Critics noted uneven narrative flow and underdeveloped characters, contributing to a 16% approval rating on based on contemporary reviews, though the visuals earned praise for maintaining a brooding intensity amid pacing issues. Despite these setbacks, the debut demonstrated Pope's capability in scaling music video techniques to feature length, with innovative low-light and practical effects enhancing the supernatural lore. Box office data indicates initial audience draw from the franchise's appeal, yet the film's underperformance relative to expectations—failing to exceed its budget significantly after marketing costs—underscored the risks of first-time feature directing without prior narrative experience. No earlier full-length narrative features preceded this project in Pope's credited , marking a pivotal, albeit contentious, entry into long-form storytelling.

Hollywood and American Market Ventures

Pope's principal Hollywood endeavor was directing The Crow: City of Angels, a 1996 supernatural produced by Films' label as a sequel to the 1994 cult hit . Hired based on his music video portfolio, including innovative work for , Pope collaborated with screenwriter to craft a diverging from the original by emphasizing spiritual transcendence over vengeance, with a runtime exceeding 160 minutes in his initial assembly. The production faced significant studio interference from executives, including Bob and Harvey , who mandated extensive reshoots and edits to prioritize commercial action elements, reducing to 84 minutes and altering its tone to align more closely with mainstream expectations. This clashed with Pope's vision, rooted in his video directing style of atmospheric visuals and thematic depth, highlighting causal frictions in Hollywood's preference for formulaic pacing over auteur-driven experimentation from non-traditional filmmakers. The final version premiered on August 30, 1996, opening at number one at the U.S. box office with $9.8 million in its debut weekend against a $13 million , yet it underperformed overall, grossing $17.9 million domestically amid poor , evidenced by a 16% approval rating on . These experiences underscored market obstacles for in the American industry during the late 1990s, where transitions from music videos to features often encountered skepticism regarding sustainment over stylistic flair, contributing to limited subsequent major studio opportunities. Despite the film's opening indicating audience draw to the , the editorial overrides and tepid reviews—critics noting plotting and underdeveloped characters—curtailed broader U.S. expansion, with Pope returning primarily to European and independent projects thereafter.

Later Career Developments

Projects from the 2000s to 2010s

In the , Tim Pope directed several music videos amid the decline of MTV's dominance and the rise of internet-based distribution, with platforms like facilitating broader online releases starting in 2005. His work maintained a signature surreal and visually inventive style, often incorporating or exaggerated narratives to suit electronic and indie rock acts. A notable example is the 2004 video for Fatboy Slim's "Slash Dot Dash," an animated production featuring abstract, fast-paced digital imagery that aligned with the track's energy and was released during the album Palookaville's promotion. Pope's assignments included the 2005 video for ' "Everyday I Love You Less and Less," the lead single from , which depicted the band in comedic, transformative scenarios emphasizing themes of obsession and identity through bold, theatrical visuals. This project exemplified his adaptation to aesthetics while preserving an edgier, non-conformist edge in an era increasingly favoring polished production. Earlier in the decade, he helmed the 2002 clip for Josh Abrahams and Amiel Daemion's "," blending electronic rhythms with narrative elements that highlighted rhythmic compulsion. By the 2010s, Pope's music video output shifted toward select niche collaborations, paralleling his increased focus on commercials and live concert footage amid streaming's disruption of traditional video budgets. The 2010 single-shot video for Neil Young's "Touch the Night" from portrayed the artist as a mock news reporter in a gritty, introspective setup, underscoring Pope's enduring preference for conceptual simplicity and filming techniques despite technological fragmentation in the industry. These efforts demonstrated resilient , prioritizing artistic over commercial sanitization as music videos transitioned from broadcast staples to supplementary online content.

Recent Works and Future Projects

In 2025, Pope directed the The Taste for Laphroaig Scotch whisky as part of the brand's "Unphorgettable" global campaign, starring in a poetic, whimsical depiction of the spirit's peaty flavor through surreal sensory descriptions and imagery. The project, produced in collaboration with creative agency View Creative, highlights Pope's signature improvisational style adapted for commercial clients beyond music, emphasizing bold, curious narratives akin to his earlier video work. Pope's memoir, I Shoot Rock Stars: My Wild Journey from Fanboy to Music Video Director, is slated for publication in July 2026 by Wildfire, an imprint of Headline, with pre-orders available through major retailers. The 352-page autobiography recounts his evolution from enthusiastic fan to pioneering director, focusing on guerrilla-style shoots, extravagant budgets, and unconventional ideas during the formative era of music videos, including anecdotes from collaborations with rock icons. It is being considered for television adaptation, underscoring Pope's continued relevance in visual storytelling. In interviews throughout 2025, such as his June appearance on Jools Holland's Later... discussing formative band collaborations and an October feature in tied to the Laphroaig project, Pope has reflected on adapting his craft to contemporary commercial and personal outlets while maintaining experimental flair. These engagements signal ongoing activity without announced feature films or music videos as of October 2025.

Personal Life

Family, Residence, and Private Interests

Tim Pope resides in Henfield, , , where business records list his correspondence address at Victoria House, Sandy Lane. He lives there with his family, maintaining a low public profile on personal matters that has supported his sustained career in directing. Pope's private interests include international travel, as evidenced by a family vacation to a villa in , , which introduced him to the region's landscapes and daily rhythms of vineyard-covered hills. This experience prompted his engagement with the Hoffman Process, a program focused on emotional patterns and , which he credits with providing tools for amid professional demands. Such pursuits underscore a deliberate balance between creative work and family-centered reflection, without public elaboration on relational specifics.

Legacy and Assessment

Innovations and Influence in Visual Media

Pope employed surreal imagery and practical effects in music videos to create immersive narratives that complemented musical themes, predating widespread reliance. In collaborations with , beginning with the 1982 video for "Let's Go to Bed," he integrated elements like dreamlike bedroom sequences and performer-driven absurdity, fostering a synergy where band input shaped spontaneous visuals. Over 37 videos for the band through 1997, including "" (1985) with its 360-degree camera rotations and hand-drawn sock animations, Pope utilized low-budget ingenuity such as borrowed equipment and minimalistic setups to achieve quirky, psychedelic effects like synchronized crane shots to vocal intensity. This performer-director rapport enabled causal advancements in the medium, as Pope's honest feedback loops with allowed real-time adaptations, emphasizing causal links between audio cues and visual —such as queasy and jittery zooms evoking aesthetics—without extravagant resources. Pre-CGI, these techniques prioritized practical , like maggot overlays in "Wrong Number" (1997), demonstrating how constrained budgets drove inventive problem-solving that heightened thematic depth over spectacle. Pope's output extended to live concert films, where he applied similar resourcefulness; for instance, in (1987), he captured expansive outdoor performances with coordinated multi-camera setups that preserved atmospheric intimacy. His work contributed to MTV-era visual evolution by exemplifying British directors' boundary-pushing promos, which integrated surreal narrative with pop structure, influencing subsequent hybrid formats in music and film visuals across four decades. Empirical markers include his direction of videos for artists like and , totaling dozens that aired prominently on from the early 1980s, correlating with shifts toward narrative-driven clips amid the channel's 1981 launch.

Reception, Achievements, and Criticisms

Pope's music videos, particularly those for , garnered significant praise for their innovative, narrative-driven style that blended gothic with playful , earning heavy rotation on and aiding the band's breakthrough in the American market during the and early 1990s. Critics and industry observers have credited his direction with elevating the visual storytelling of , as seen in videos like "" and "Just Like Heaven," which amassed millions of views and influenced subsequent promo . His , exceeding 200 videos for artists including , , and , established him as a pioneer in the format, with outlets highlighting his role in pushing boundaries beyond mere performance clips. Key achievements include the 1992 MTV Video Music Award for European Viewer's Choice for Best Music Video for The Cure's "Friday I'm in Love," which underscored his commercial impact. In 2004, he received the Outstanding Achievement Award at the CADS Music Vision Awards, recognizing his contributions to the medium. A lifetime achievement award from CADS followed in 2005, affirming his enduring influence after directing landmark clips that shaped concert films and promos over four decades. Criticisms of Pope's work have centered on occasional commercial underperformance and provocative content sparking backlash, rather than personal misconduct. The 1981 "Sex Dwarf" video for , featuring explicit imagery including simulated sex acts and chainsaws, faced widespread bans—remaining prohibited on television as of 2011—and drew complaints for its unfiltered depiction of S&M themes, with director Pope noting its underground circulation via bootlegs. Similarly, his 1986 direction of Lou Reed's "No Money Down" prompted viewer outrage on , including reports of children being traumatized by its gritty street scenes. In feature films, (1996) earned mixed reviews for flat pacing and underdeveloped characters, exacerbated by studio-mandated edits that Pope and writer argued diluted its depth, contributing to its status as a box-office disappointment grossing under $20 million domestically against a $10 million budget. Despite such setbacks, detractors' claims of consistent underachievement overlook his video successes, with no evidence of major ethical or professional scandals beyond artistic risks in an era of evolving broadcast standards.

References

  1. [1]
    Happy Birthday, Tim Pope! | News - Promonews
    Feb 12, 2016 · Tim Pope, one of the all-time great British music video directors, reaches a landmark birthday today, the 12th February 2016.
  2. [2]
    Biography - Tim Pope director
    Tim Pope is an award-winning British director whose work has helped shape the visual language of music videos and live concert films over the past four decades.
  3. [3]
    Tim Pope - Biography - IMDb
    Tim Pope is famous for his unique and thought-provoking promotional music videos played on MTV in the 1980s, for such bands as Talk Talk, Siouxsie and the ...Missing: drummer | Show results with:drummer
  4. [4]
    The Cure's 10 Best Videos (They're all by Tim Pope) - BrooklynVegan
    Mar 24, 2023 · The Cure worked with director Tim Pope on nearly two dozen music videos during the band's '80s/'90s heyday. Here are the 10 best.<|separator|>
  5. [5]
    https://www.themoviedb.org/person/65602-tim-pope
  6. [6]
    Introducing BIMM University Berlin's first patron: Film director Tim Pope
    Apr 4, 2022 · After completing film studies at Ravensbourne College in Bromley UK, he got a job as a cameraman for a company that trained UK politicians for ...
  7. [7]
    Tim Pope Interview - Classic Pop Magazine
    May 6, 2025 · We talk to its director, Tim Pope, about his work with the band and a whole host of other seminal acts. From Beatles covers to homoerotic Weller on a riverbank ...Missing: drummer biography
  8. [8]
    FEATURE: In the Works: The Videos of Tim Pope
    Apr 6, 2021 · “Tim Pope always wanted to make films. He attended in his teens film studies at Ravensbourne College, Bromley, then he got a job working the ...Missing: family | Show results with:family
  9. [9]
    The Work That Made Me: Tim Pope | LBBOnline
    Mar 4, 2022 · Tim is best known for his boundary pushing music videos for the likes of Queen, Bowie, Neil Young, Iggy Pop and of course, The Cure.Missing: drummer | Show results with:drummer
  10. [10]
    Soft Cell "SEX DWARF" - Tim Pope director
    Maker of pop videos, adverts, docs, concert films, short films and movies.
  11. [11]
    Soft Cell - Sex Dwarf (1981) - IMVDb
    'Sex Dwarf' music video by Soft Cell. Directed by Tim Pope.Missing: directed | Show results with:directed
  12. [12]
    Siouxsie & The Banshees - Dear Prudence (1983) - IMVDb
    Jan 9, 2016 · 'Dear Prudence' music video by Siouxsie & The Banshees. Premiered on November 30, 1999. Directed by Tim Pope.
  13. [13]
    Queen: It's a Hard Life (Music Video 1984) - IMDb
    Rating 7.2/10 (79) Queen: It's a Hard Life: Directed by Tim Pope. With John Deacon, Brian May, Freddie Mercury, Queen. Video promo for Queen: It's a Hard Life.
  14. [14]
    https://www.queenpedia.com/index.php?title=It%27s_A_Hard_Life_-_Promotional_Video
  15. [15]
    Queen IT'S A HARD LIFE - Tim Pope director
    Feb 14, 2023 · Quote from Brian May about the video: "I find it pretty depressing. It's not rock 'n' roll, it's not glamorous. If you're honest, it's just like being an extra ...
  16. [16]
    Pictures Of You: The Stories Behind The Cure Videos | uDiscover
    A landmark among Cure videos, “Let's Go To Bed” marked their first collaboration with director Tim Pope, who went on to direct many videos for the band.<|separator|>
  17. [17]
    Tim Pope - IMDb
    Tim Pope is famous for his unique and thought-provoking promotional music videos played on MTV in the 1980s, for such bands as Talk Talk, Siouxsie and the ...Missing: drummer | Show results with:drummer<|separator|>
  18. [18]
    The making of The Cure's "Just Like Heaven" music video
    Jul 25, 2016 · The music video for The Cure's hit single “Just Like Heaven” was filmed in England's Pinewood Studios, and shot on location on the cliffs of Beachy Head.
  19. [19]
    The Cure video director Tim Pope talks new concert film, cat-herding ...
    Jul 5, 2019 · Pope has been close to the Cure for decades, directing not only every Cure music video between 1982 and 1997 but also the band's other major ...
  20. [20]
    How important was Tim Pope : r/TheCure - Reddit
    Nov 18, 2023 · Tim Pope's videos were as an important part of The Cure getting huge as anything else. UpvoteMissing: process humor surrealism
  21. [21]
    Classic Album: The Cure - Disintegration - Classic Pop Magazine
    Jun 6, 2025 · ... Tim Pope. In 1985, they released their sixth album, The Head On The Door, which sparked their breakthrough into the US, and yielded the ...Missing: impact | Show results with:impact
  22. [22]
    A Long Term Effect: Tim Pope On Four Decades Of Work With The ...
    Jul 8, 2019 · It's Glastonbury weekend 2019, the day before The Cure play a rapturously received set, and their longtime video and film collaborator Tim Pope ...Missing: background | Show results with:background
  23. [23]
    The Psychedelic Furs: Heaven (Music Video 1984) - IMDb
    Rating 6.4/10 (15) The Psychedelic Furs: Heaven: Directed by Tim Pope. With The Psychedelic Furs, John Ashton, Richard Butler, Tim Butler. Official music video for "Heaven" by ...
  24. [24]
    "The #Ghost In You" video shoot with legendary director #timpope ...
    Aug 18, 2025 · Director Tim Pope with Richard Butler of The Psychedelic Furs, Ghost In You video Photo Credit Steve Rapport · Got a good 10 minutes of this fun ...
  25. [25]
    Tim Pope - IMVDb
    Music video credits for Tim Pope. Just Like Heaven by The Cure (1987), Friday I'm in Love by The Cure (1992), Boys Don't Cry by The Cure (1986), ...Missing: early 1980s
  26. [26]
    Siouxsie and the Banshees: Cities in Dust - Music Video - IMDb
    Rating 7.4/10 (22) Siouxsie and the Banshees perform "Cities in Dust" in a music video using imagery that suggests volcanic eruption of Mt. Vesuvius in 79 AD.
  27. [27]
    8 Music Videos by Tim Pope You NEED To See - Sans Pareil
    May 4, 2024 · He's directed nearly 40 videos for The Cure so this is definitely just a small list, and in no particular order. 1 – Peter Murphy “The ...
  28. [28]
    Talk Talk: It's My Life (Music Video 1984) - IMDb
    Rating 7.6/10 (82) The first, envisioned by director Tim Pope as a statement against the banality of lip-syncing, consists almost entirely of footage from wildlife documentaries.
  29. [29]
    Talk Talk - Life's What You Make It (1985) - IMVDb
    Feb 24, 2015 · 'Life's What You Make It' music video by Talk Talk. Directed by Tim Pope. Produced by Gordon Lewis.
  30. [30]
    The Style Council: Long Hot Summer (Music Video 1983) - IMDb
    Rating 7.1/10 (12) The Style Council: Long Hot Summer: Directed by Tim Pope. With Paul Weller, Mick Talbot, Steve White, The Style Council.
  31. [31]
    The Style Council: My Ever Changing Moods - Music Video - IMDb
    Rating 7.2/10 (10) The Style Council: My Ever Changing Moods: Directed by Tim Pope. With Paul Weller, Mick Talbot, The Style Council. Official music video for "My Ever Changing ...
  32. [32]
    Weller Wednesday - 'You're The Best Thing' (Official Music Video ...
    Dec 20, 2023 · Profile photo of Paul Weller ... Weller Wednesday - 'You're The Best Thing' (Official Music Video) Directed by Tim Pope and released in May 1984' ...
  33. [33]
    Neil Young "Touch the Night" - Tim Pope director
    Mar 15, 1987 · I believe this was the first time anyone ever tried to shoot video "in one." (Well, in truth if you check there is a sneaky single cut.) Neil makes a great ...Missing: music | Show results with:music<|separator|>
  34. [34]
    Neil Young - Wonderin' (1983) - IMVDb
    Jan 6, 2016 · 'Wonderin'' music video by Neil Young feat. Shocking Pinks. Premiered on September 1, 1983. Directed by Tim Pope. Produced by Gordon Lewis.
  35. [35]
    Neil Young & Crazy Horse THIS TOWN - Tim Pope director
    Neil Young & Crazy Horse THIS TOWN. Neil is always such a laugh and is always very fun to work with. He likes to play characters I create. He was, of ...Missing: music | Show results with:music
  36. [36]
    David Bowie: Time Will Crawl (Music Video 1987) - IMDb
    Rating 6.6/10 (42) David Bowie: Time Will Crawl: Directed by Tim Pope. With David Bowie, Skeeter Rabbit, Carlos Alomar, Peter Frampton.
  37. [37]
    https://www.youtube.com/watch?v=someurl
  38. [38]
    Tim Pope music videos - YouTube
    Tim Pope music videos · The Cure - Friday I'm In Love · The Bangles - Eternal Flame (Official Video) · Fatboy Slim - Slash Dot Dash (Official Video) · The Darkness ...
  39. [39]
    Tim Pope I Want To Be A Tree Uk 12" The Cure - eBay
    In stock $5 delivery... Tim Pope's Syd Barrett-inspired "I Want To Be A Tree" single. Pope at the time was the regular director of promotional videos for The Cure, Siouxsie and the ...Missing: 1988 | Show results with:1988
  40. [40]
    Interview : 1/18/2000 Record Mart - A Foolish Arrangement
    His single 'I want to be a tree', was intended as a joke, although he did play one gig -supporing the Psychedelic Furs- to promote it. All the music on the ...<|separator|>
  41. [41]
    https://www.discogs.com/release/2842645-The-Cure-The-Cure-7-Bootlegs
  42. [42]
    Tim Pope – I Want To Be A Tree Lyrics - Genius
    I Want To Be A Tree was recorded with The Cure. There exists a video of the song in which Paul Young, The Style Council, Siouxsie and Budgie, Talk Talk, The ...
  43. [43]
    The Cure History - The Cure Concerts Guide
    With this inspired madness fresh on the market, Smith helped Tim Pope release a criminally neglected single called "I Want To Be A Tree" then travelled to ...
  44. [44]
    The Crow: City of Angels (1996) - IMDb
    Rating 4.6/10 (23,165) The Crow: City of Angels: Directed by Tim Pope. With Vincent Perez, Mia Kirshner, Richard Brooks, Iggy Pop. The spirit of the Crow resurrects a car mechanic ...Full cast & crew · The Crow: Salvation · User reviews · Parents guide
  45. [45]
    The Crow: City of Angels (1996) - Box Office Mojo
    The Crow: City of Angels (1996). The spirit of the Crow resurrects a car mechanic seeking revenge for the murder of his son. Cast information · Crew ...
  46. [46]
    The Crow: City of Angels (1996) - Box Office and Financial Information
    Opening Weekend: $9,785,111 (54.7% of total gross). Legs: 1.83 (domestic box office/biggest weekend). Domestic Share: 100.0% (domestic box office/worldwide).
  47. [47]
    The Crow: City Of Angels and the lost fan edit - Film Stories
    Jul 20, 2020 · Production on the film was frustrating, with Pope reporting there was interference throughout most of it. Still, after filming wrapped, he ...
  48. [48]
    The Crow: City of Angels - Rotten Tomatoes
    Rating 16% (37) The Crow: City of Angels is a sloppy pretender that captures neither the mood nor energy of the original. Read Critics Reviews.Cast & Crew · Movie Clips · More Like This
  49. [49]
    Why Now is the Perfect Time to Release the Tim Pope Cut of 'The ...
    May 28, 2020 · Unfortunately, this version never saw the light of day because the movie was heavily affected by “studio intervention”. In a video titled “ ...Missing: challenges interference
  50. [50]
    https://medium.com/its-only-a-movie/tim-popes-the-crow-city-of-angels-1996-butchered-by-miramax-93a485c4476d
  51. [51]
    Fatboy Slim SLASH DOT DASH - Tim Pope director
    This one goes back to 2005, and is still one of my favourite vids. Fatboy Slim · Norman Cook · Slash Dot Dash. Filmmaker.Missing: 2004 | Show results with:2004
  52. [52]
    KAISER CHIEFS ANNOUNCE NEW SINGLE - NME
    KAISER CHIEFS ANNOUNCE NEW SINGLE. 'Everyday I Love You Less And Less ... Kaiser Chiefs have ... Tim Pope directed video for the lead track. The 7 ...
  53. [53]
    https://www.discogs.com/release/580161-Kaiser-Chiefs-Everyday-I-Love-You-Less-And-Less
  54. [54]
    Making of "Touch the Night" Music Video by Tim Pope
    Feb 24, 2010 · "Touch the Night" is a brilliant single shot video with Neil as the hapless "action TV reporter" which is almost too real in it's fake newsiness.
  55. [55]
    Laphroaig Collabs With Willem Dafoe in Poetic Meditation on Taste
    Sep 24, 2025 · Legendary director Tim Pope, famous for his work on music videos for the likes of David Bowie, Iggy Pop, and The Cure, directed the cinematic ad ...Missing: 2020s | Show results with:2020s
  56. [56]
    Laphroaig partners with Willem Dafoe for “unphorgettable” campaign
    Sep 23, 2025 · The partnership began with a short film titled 'The Taste', directed by Tim Pope. As well as the short film, the partnership will involve ...Missing: 2020s | Show results with:2020s
  57. [57]
    Tim Pope directs Willem Dafoe in whimsical short film for Laphroaig
    Oct 1, 2025 · Tim Pope, the director behind legendary music videos for The Cure, turns the lens on Willem Dafoe for Laphroaig whiskey.Missing: works | Show results with:works
  58. [58]
    Willem Dafoe goes full peat in Laphroaig's new campaign - Ad Age
    Sep 23, 2025 · The short film was produced with Valerie Wickes, creative director at View Creative, and director Tim Pope. “Willem Dafoe is bold, curious and ...Missing: 2020s | Show results with:2020s
  59. [59]
    Tim Pope director
    ### Biographical Information
  60. [60]
    My Wild Journey from Fanboy to Music Video Director - Tim Pope
    I Shoot Rock Stars: My Wild Journey from Fanboy to Music Video Director. Front Cover. Tim Pope. Headline, Aug 13, 2026 - Biography & Autobiography - 352 pages.
  61. [61]
    I Shoot Rock Stars: My Wild Journey from Fanboy to Music Video ...
    Capturing the improvisational mood of a time when directors worked guerrilla-style, money flowed freely and no idea was too wacky to pursue, I Shoot Rock Stars ...Missing: autobiography | Show results with:autobiography
  62. [62]
    Blog - Tim Pope director
    Tim Pope interview Rolling Stone. 08.10.2025. Tim on Jools Holland's Earlier, June 2025. 06.10.2025. Next Page. Filmmaker. Twitter · Facebook · Email.
  63. [63]
    Timothy Michael POPE personal appointments - Companies House
    Total number of appointments 2. Date of birth: February 1956. TIN POT FILMS ... Film Director. COWBOY MANAGEMENT LIMITED (02560696). Company status: Active.
  64. [64]
    COWBOY MANAGEMENT LIMITED people - Companies House
    POPE, Timothy Michael. Correspondence address: Victoria House, Sandy Lane, Henfield, West Sussex, United Kingdom, BN5 9UX. Role Resigned: Director.Missing: Tim | Show results with:Tim
  65. [65]
    Doing the Hoff: by film maker Tim Pope - Hoffman Institute UK
    The house was situated down a dirt track, and from every side the windows let out to glorious views of rolling, vineyard-covered hills. Daily life in the house, ...Missing: Henfield | Show results with:Henfield
  66. [66]
    On this date in 1985, THE CURE released the single IN BETWEEN ...
    Jul 19, 2024 · Director Tim Pope's quirky vision included hand-drawn socks and innovative camera work, with 360-degree shots adding to the visual interest.
  67. [67]
    The Cure WRONG NUMBER - Tim Pope director
    Psychedelic maggots, chop suey, Robert dancing with Laurence Olivier on LSD - all in all, one of my later-day favourite Cure videos. Filmmaker.
  68. [68]
    MTV - A British Invention? - Media Centre - BBC
    We also look at how British directors such as Steve Barron, Tim Pope and Annabel Jankel have had successful careers beyond the world of music videos. And how ...
  69. [69]
    Creative Industries Presents - University of Chichester
    Tim Pope (Pop promo director): Tim Pope has made over 200 music videos with, amongst others, Fatboy Slim, The Kaiser Chiefs, David Bowie, Neil Young, Queen ...<|separator|>
  70. [70]
    The Cure "Friday I'm in Love" - Tim Pope director
    Dec 1, 2022 · Maker of pop videos, adverts, docs, concert films, short films and movies.
  71. [71]
    Here's why Soft Cell's 38-year-old Sex Dwarf video is still banned
    Feb 20, 2019 · Directed by Tim Pope, the video features Soho brothel workers wielding chainsaws, a dwarf wearing a fetish outfit and piles of raw meat as ...
  72. [72]
    Soft Cell's Infamous 'Sex Dwarf' Video (NSFW) - Dangerous Minds
    Mar 28, 2012 · Directed by Tim Pope, Soft Cell's Sex Dwarf video, released to promote their debut album, created quite a scandal in 1981.Missing: backlash | Show results with:backlash
  73. [73]
    35 years later, Lou Reed's banned 'No Money Down' video is still ...
    Jul 15, 2021 · When “No Money Down” premiered in 1986, the cable network's switchboards lit up with complaints that it was traumatizing younger viewers and making them cry.
  74. [74]
    The Crow: City of Angels (1996) - User reviews - IMDb
    ... Tim Pope was hired based on his short film Phone. Pope and writer David S. Goyer set out to create a new story for The Crow that would be tonally and ...Missing: challenges | Show results with:challenges
  75. [75]
    The Crow: City of Angels (1996) Revisited - Horror Movie Review
    For this sequel, the director chosen was Tim Pope, a man better known for directing music videos. ... controversial sequels of all time, The Crow: City of Angels.Missing: criticisms | Show results with:criticisms<|separator|>
  76. [76]
    The Most Controversial Music Videos of All Time - Flavorwire
    Mar 16, 2013 · Soft Cell, “Sex Dwarf”​​ Renowned music video director Tim Pope shot the filthy footage for Soft Cell's “Sex Dwarf,” which contains actual sex ...Missing: criticisms | Show results with:criticisms