With ‘Out of the Dark’ by LMNT 115, Zak Abel hitting one million views in just two weeks, we invited director James Chappell to take us behind the lens of the breakout music video. In this Q&A, James shares the story behind the shoot – from the spark of inspiration in rural Java to the chaos of Jakarta nightlife – and unpacks the creative process, wild on-set moments, and why this fever-dream adventure struck such a chord with global audiences.
Q: What sparked the concept for the video’s narrative?
James: The spark hit during a trip to Java last year. I was staying with a friend who showed me a hidden side of Indonesia – far from the tourist traps of Bali. It was raw, real, and brimming with magic. I kept thinking, this needs to be seen to be believed. That chaos and lush energy became the foundation: the fishing villages, buzzing markets, the wildness of the landscape – and the quiet spirit and kindness of the people.
The lyrics of “My Way” inspired a parallel thread – a rags-to-riches story of a young girl choosing goodness in a world that says otherwise. It’s about forging your own path, resisting peer pressure, and trusting that doing things your way does pay off in the long run.
Q: First things first – what was the vibe check on this shoot?
James: A roaming international film family on a wild adventure. That’s the vibe.
We shot across multiple locations, rolled deep with the local crew, and leaned into the beautiful chaos. There was this magic-in-the-moment energy that everyone – cast, crew, even the locals – fed into. Despite the language barrier, the collaboration was seamless. Everyone believed in what we were doing, and it created this wildly fun, communal energy. Total fever dream, but in the best way.
Q: What was your “hell yes” moment – when you knew the concept was locked?
James: The final nightclub scene. We had 50 Jakartan club kids packed into a sweaty, neon-lit warehouse dancing to the track. When the beat dropped and the little girl (now grown) took the decks – everyone lost it. There were genuine fist bumps, impromptu dance battles, and a sea of hands in the air. That moment when fiction and reality blurred, when they started singing along – that was it. That was the “hell yes.”
Q: The locations had such a strong atmosphere. Where did you shoot and why was it the right call?
James: We shot mainly in Pelabuhan Ratu, which fittingly means Harbour of the Queen and based ourselves near Cimaja in West Java. The waterfalls, rice fields, beaches, jungle – all within reach. For the city chaos, we road-tripped six hours to Jakarta for the tuk tuk sequences and nightclub scenes. It was the perfect contrast: untouched natural wonder meets big-city madness. West Java had this mythic quality, while Jakarta was full-blown neon overload.
Q: What snuck into the final cut unexpectedly?
James: One of our producers discovered this incredible neon infinity mirror in a bathroom at the club. It created this Droste effect – a mirror within a mirror within a mirror – and we used it to introduce the grown-up DJ version of our protagonist. It became this perfect metaphor for transformation and self-recognition. Completely unplanned and a total find.
Q: Describe the energy on set.
James: Unhinged in the best way. It was a non-stop adrenaline rush, fuelled by creative madness and flu meds (most of us got sick but just kept on going). Watching our DOP and producer react to the intensity of the local markets for the first time was unforgettable and hilarious, a total sensory overload: colours, smells, people, animals. Every hour brought something new and wild.
Q: Any standout cast or artist moments?
James: LMNT 115 and Quasar Music were dream collaborators. They gave me full trust and creative freedom. That’s rare!
As for the cast: Safia, who played the young protagonist, was a total force. She brought heart, strength, mischief – all elements that make you root for her character to win. Watching her bust out TikTok hand dances on the beach during a break and giving us goosebumps… didn’t see that coming. She’s definitely got the rizz.
Q: A scene that felt like a turning point?
James: There was this surreal moment at a seaside amusement park. Picture this: we’ve got a fairly large ARRI camera with anamorphic lenses, hundreds of locals watching, a little girl and a mythical Indonesian spirit on a hand powered carousel… Pure stimulation overload. None of it would’ve been possible without Jerry, our incredible fixer, who talked his way into letting us film literally anywhere. He is a local legend. I kept looking at my DOP and laughing at him on the merry-go-round trying to capture the shot whilst the world around us literally vibrated with crowds of people, neon lights and utter chaos.
Q: How does Out of the Dark differ from your past work?James: This was my first time shooting in Asia. There’s a freshness and unseen quality to the visuals. Even the local Jakarta crew was floored by the locations in West Java. Story-wise, it’s a hero’s journey, sure, but wrapped in a very specific cultural fabric. I’ve explored underdog themes before, but never through this lens. This felt like walking into the unknown and being welcomed with open arms. It was enriching in ways I’m still processing.
Q: One word to describe the shoot? (Emojis accepted!)
James: There were five shoot days, and asked for emojis, so I’m taking liberties:
Day 1 – Woah 
Day 2 – Crazy 
Day 3 – Crazier 
Day 4 – Craziest 
Day 5 – Delirium 
Q: Favourite shot of the shoot?
James: Day one: Golden hour in Pelabuhan Ratu. We all raced to get this shot…
Our young girl sits looking out over the harbour. The sky is split between fire-lit sunset and brooding storm clouds. It’s quiet, it’s hopeful – and the frame is pure magic.
Absolute chef’s kiss.
