Chris Cunningham and ‘FTTF’: The Work That Made David Graham

David Graham is an offline editor working across mixed media, crafting culturally relevant films that blend documentary-style storytelling with a strong sense of performance and visual intimacy. His work captures genuine moments with authenticity, taste, and style. With a solid grounding in visual effects, David’s workflow bridges traditional craft alongside new creative technologies.

Here David looks back on taping the Chart Show on Saturday mornings, shares how a chance encounter with the work of Chris Cunningham set him on his own creative journey, and ponders the profound identity-shaping power of physical media.

LBB> The ad/music video from my childhood that stays with me…

David> I vividly remember the Scotch Video Tapes ‘Re-record Not Fade Away’ ad being on the television when I was growing up. Not only was it such a catchy ad but for me it embodies the whole ‘VHS days’ of recording your favourite shows off the television.

I remember recording the ‘Chart Show’ on a Saturday morning to watch back all the music videos over and over. Videos like ‘Out of Space’ by The Prodigy and ‘Ebenezer Good’ by The Shamen were eye candy for a young mind, or staying up late to record shows like the Word or the White Room for first time TV performances from bands like Nirvana, Rage Against the Machine and Oasis.

LBB> The ad/music video/game/web platform that made me want to get into the industry…

David> I was at a friend’s house one night and he put on a DVD he’d just bought. It was ‘The Work of Director’ for Chris Cunningham [‘The Work of Director’ was a series of DVD compilations, each dedicated to a different filmmaker]. I loved Chris Cunningham’s visuals, from his work with Autechre and Aphex Twin to his style of editing and the way his visuals glitched with the music. I went out and bought the DVD the next day, along with Spike Jonze and Michel Gondry.

I’ve watched those DVDs so many times and they were a massive inspiration for me to get into the industry. Even though I’ve got rid of most of my DVD collection I still have those on my bookshelf.

Some of my favourite projects are when I get to work with mixed media and a mash of different video formats. There is something about the texture and energy of the footage that I love. Just gives it more personality.

LBB> The creative work that I keep revisiting…

David> Rather than any specific piece of work, I’d say it’s more the creative work of a specific time period; ‘La Haine’ and ‘True Romance’ or iconic ad campaigns from brands like Nike or United Colours of Benetton - the 90s was crammed full of amazing reference points and lasting cultural impact.

There’s also something about owning the physical copies of either the music, magazines or albums. There was a whole process around that ownership that I miss. It gives you more of an association with that work. Those films, magazines and albums were part of your collection, and in a way those collections became part of your identity. I’d watch those DVDs and listen to albums over and over, with different people, building memories around them.

We don’t do this in the same way anymore.

LBB> My first professional project…

David> My first professional project was a timelapse film of a graffiti mural I shot and edited with a group of graffiti artists called Pirates. The film captured an amazing mural on a huge wall at the back of Village Underground in Shoreditch.

We ended up using the soundtrack ‘Stare into the Sun' by the band Graffiti6 - they loved it so much they put it out as a video for the song and it went viral on YouTube.

LBB> The piece of work that made me so angry that I vowed to never make anything like *that*…

David> I’m not sure a piece of work has ever made me that angry. I tend to save that energy for bigger things… like people who vocalise emoji’s or clap when the plane lands.

LBB> The piece of work that still makes me jealous…

David> ‘Drop’ Pharcyde music promo by Spike Jonze; conceptually mind-bending and yet such a simple idea. Every time I re-watch it, I’m floored by how fresh it still feels.

LBB> The creative project that changed my career…

David> Funnily enough it was the Graffiti6 time lapse film. My old laptop died halfway through editing it and I was skint and couldn't afford a new one.

My friend was the creative director of the project and reached out to the producer of a production company he knew and he kindly let us go in and use one of their machines to finish the edit.

I was there for a few weeks cutting and got to know everyone by constantly making rounds of tea. Once the film was finished the founder started throwing me bits of editing work and shortly after I was in there pretty much permanently cutting films for clients like British GQ and Polydor Records and brands like Burberry, Nike and Mulberry.

Ant at Spring69 is a legend and has amazing taste and I learnt so much from him. I met so many people through that studio and some top editors and directors came out of there.

LBB> The work that I’m proudest of…

David> It has to be ‘FTTF’ (‘Four to the Floor’), a late night Channel 4 music and culture show that I worked on across several series. The show ran for eight series and offered about as much creative freedom as you get. It was a rare opportunity to editorially say what you wanted and creatively draw on your references and tastes. It was loud, unhinged and cool, and took no prisoners.

The show prided itself on showcasing amazing new artists before they were even heard of: Little Simz, Micheal Kiwanuka, Kojey Radical, Young Fathers, Sam Fender, the list goes on. It was so much fun to work on and the team was incredible (big up Lemonade Money); it was like working with a group of really good mates everyday, hanging out and being as creative as possible. The budgets were small but everyone chipped in to produce something that they loved and were proud of and that really shows.

The show won Best Music Show at Broadcast awards twice, beating big budget productions like Jules Holland, Glastonbury and the Brits. I’m proud I was a part of it.

LBB> I was involved in this and it makes me cringe…

David> This was the first music video I directed with a decent budget. It was a pop video: lights, costumes, dancers and I got an amazing designer who had created Kylie Minogue's iconic white jumpsuit for the ’Can't Get You Out of My Head’ promo to design the costumes.

Sadly the artist’s management misinformed us of her sizes and the artist was unable to attend fittings due to tour commitments and when the shoot day came the outfits didn’t fit properly. A scramble ensued to try to sort the problem which threw the whole day out.

Many hours of post later and what should have been a wicked pop video turned out to be a bit of a cringe fest all round. I struggle to re-watch it.

LBB> The recent project I was involved in that excited me the most…

David> Adidas x Aston Villa ‘Up the Villa’ produced by Somesuch was the first project working with Pineapple VFX. Kia Coates is a super talented VFX creative director and Josh Sanders is an amazing EP and are both lovely people to work with and are cooking up something really special, including the new AI studio they are about to launch.

As an editor, I love telling stories and finding the human perspective, so working in mixed media with exciting new collaborations and tools at my disposal, the creative possibilities feel wide open.