Schön! presents | “2 in a million” – steve aoki, sting, shaed (director’s cut)
This isn’t the first time Spanish filmmaker J. A. Moreno has worked with Steve Aoki. He’s already crafted a number of videos for the Grammy-nominated DJ/Producer but this may be the first time Aoki is absent from the final product. In the original cut for Aoki’s song “2 in a Million”, which features Sting and SHAED, the song’s many musical stars are in the forefront, intercut with clips of a choreographed dance performance. In the director’s cut, those stars are completely absent and their positions replaced completely with that of the dancers, whose roles have been expanded from minor features into the focal point.
Pulling off this feat wasn’t easy; the shoot was almost over, and Moreno did not have much to work with besides the location and original choreography. Still, he built off of this base, crafting the video that Schön! is proud to premiere today. Schön! discussed the video with Moreno to hear more about how it came to be.
Filming performers on a stage is a tried and true music video concept. How did you give this idea your own voice?
Plenty of music videos rely on lighting effects, editing or syncing the movements of the artists to the choreography of the dancers. I wanted to do exactly the opposite. I wanted to strip the whole thing back and keep it simple. This cut isn’t about perfection; I was looking for authenticity more than anything. The dancers had great chemistry, so we just used the original choreography as a base and then I just let them enjoy themselves on stage.
Tell the story of how this version came about as opposed to the original.
As you can imagine with artists of the calibre of Sting, Steve Aoki and SHAED, quite a bit of the final cut has to focus on them. This meant that there wasn’t much room to include other ideas in this official version. But thankfully we ended up having 30 minutes to spare at the end of the shoot. With a location like the United Palace in New York and two professional contemporary Broadway dancers, I couldn’t let the opportunity to film them for more time slide.
What does preparation for a dance shoot like this look like on your end?
As I mentioned we only had 30 minutes to film the director’s cut. It’s a one-take with no preparation other than the one from the official video. I simply told the dancers to focus on the feeling of the piece rather than the choreography, to feel each other and to not worry about being completely in sync.
When it comes to the camera movements, we just opted for circular movements. This generally gives you fewer problems, as with too many variants you run into the risk of having technical issues: for example, the movements of the characters in relation to the position of the camera or the camera focus. I just gave Calvin (the amazing Steadicam operator, who’s really is the third dancer in the piece) the freedom to get close to the dancers through the “softer” parts of the song and he did the rest.
You’ve worked with Steve Aoki several times before. How does he influence the videos, and what was his influence on this video specifically?
The truth is that we immediately connected the first time we worked together. Over the years, this relationship has just become stronger. With each project we’ve created a joint style — a mixture of both of our creative minds. The albums he releases are called Neon Future, following a neon, cyber-punk, sci-fi aesthetic. This is very much in line with many elements that have built my style as a director — colourful, yet underground. “2 in a Million” has the style that Aoki and I have built over the years, along with Sting’s more classic and elegant influence.
What’s the most difficult part about shooting dance videos as opposed to narrative projects?
It’s very straightforward: you have to be able to convey the feeling of a narrative piece, but do so through dance and non-verbal communication. At times, this is even more effective than working with a dialogue. Ultimately, it’s all about having the viewer being able to feel, rather than understand.
What else does the future have in store for you?
I’m currently directing my fifth music video for Steve along with AGNEZ MO and Desiigner, which will be released in the coming weeks. It’s a very interesting experiment recorded by the artists in isolation — different from the self-made quarantine videos that we’ve been seeing recently. I’m also about to finish the editing for another project I have directed in parallel for the L.A based DJ trio Cheat Codes.
full look. Valentino
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full look. Brioni
shoes. Loro Piana
full look. Valentino
opposite
full look. Brioni
shoes. Loro Piana
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“Sometimes life doesn’t choose you, a role chooses you.” For Emanuela Postacchini, acting is more than just playing a character in front of the camera. Her journey, which began in a small town in the Marche region of Italy, now puts her in the same frame with giants like Jennifer Coolidge and Bill Murray. Her role as Marina in ‘Riff Raff’, which had its world premiere at the Toronto Film Festival, reveals both her vulnerability and her creative power.
‘Riff Raff’ made its worldwide premiere at TIFF to great buzz. What drew you to this project, and what was it like stepping into this gritty crime world alongside such a legendary ensemble cast? It feels like the kind of film that doesn’t come around often.
Absolutely—it really doesn’t. As you said, opportunities like this don’t come by very often. To be part of a film with so many legendary actors—people I grew up watching—was surreal. I remember showing up on set and just thinking, “Wow, they’re all really here.” When I first received the script, I loved it. I had never read anything quite like it in my entire career. I was already familiar with the screenwriter, John Pollono—I’m a big fan of his work. ‘Small Engine Repair’ was brilliant. The script for ‘Riff Raff’ was such a compelling blend of comedy and darkness, with these really raw and complex family dynamics running throughout.
What especially stood out to me was the relationship between DJ and Louis Coleman—there’s such emotional depth there. That father-son dynamic plays out in multiple layers and scenarios, and it was fascinating to explore. Also, Marina being pregnant drew me in—I had never played a pregnant character before. I thought it would be interesting to explore that physically and emotionally. I wanted to learn how a pregnant woman sits, walks, eats—just how she navigates the everyday. I talked to friends who had been pregnant to understand those nuances. And of course, the cast! Jennifer Coolidge was already attached, and I immediately thought, “Yes, this role was written for her.” No one else could’ve played Ruth the way she did. She brought that character to life in such a unique, hilarious way. Ed Harris was also part of the cast, and Bill Murray joined later. At the time of my audition, he wasn’t attached yet. But even being considered for a role in such a stacked ensemble felt like a dream come true. It was one of those rare opportunities.
Speaking of Marina being pregnant, what was it like navigating that, especially while acting alongside big personalities like Jennifer Coolidge and Bill Murray? What’s one memorable moment that really stayed with you from the set?
I absolutely adore Bill Murray. He’s such a gentleman, incredibly gracious, and really embraces everyone—even newer actors like myself. He pushes you to bring your A-game in the most supportive way. He’s humble and hardworking, and I had an amazing experience working with him. One moment that always makes me smile—we used to sit on the couch during breaks and flip through fashion magazines together, just chatting about trends. I would’ve never imagined that one day I’d be sitting on a movie set, commenting on fashion with Bill Murray! I think I even have a photo of that moment somewhere—it was hilarious and unforgettable.
Jennifer is also just… Jennifer. So authentic, so uniquely herself. I always say she reminds me of Marilyn Monroe—not in a direct comparison, but in that she has this rare charisma mixed with a kind of innocence and genuineness. She’s incomparable. And we share a deep love for pizza. We even promised each other we’d go on a pizza marathon one day. I hope we still do that!
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jacket. Institution
full look. Ferragamo
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jacket. Institution
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From ‘The Alienist’ to ‘Riff Raff’, your roles span thrillers, satire, drama, and now crime-comedy. How do you approach choosing such diverse characters? Your choices reflect both range and boldness.
Honestly, I feel like the roles choose you as much as you choose them. Sometimes, something just clicks when you read a script, and that’s the beauty of acting—you get to live so many different lives you wouldn’t experience otherwise. Each role comes with its own color palette, emotions, and energy. The approach always depends on what the script makes me feel and what I believe I can bring to that character—or what that character might bring out in me. Sometime,s you connect deeply, sometimes, it challenges you in a completely new way. Ultimately, I think it’s a dance—part instinct, part preparation, part surrender.
You were born in Italy and now work extensively in the U.S. Has your cultural background influenced how you approach your characters? There’s a certain emotional sensitivity in your performances.
Definitely. Being Italian, there’s a natural passion I bring into everything I do. We’re very expressive, emotional people—we love deeply, argue loudly, and live fully. Interestingly, I’ve often been asked to audition for French roles. In fact, Marina was originally written as a French woman. I even did the first audition in a French accent! But when the director found out I was Italian, he said, “Wait—you’re Italian? Play her as Italian.” And that changed everything. I brought in that big-hearted, family-loving energy. Even little details—like how Marina cooks breakfast while having this sweet moment with DJ—I think those gestures felt very Italian. That cultural texture added something special to the role, and I was really proud to be able to bring that to the screen.
Which city are you from in Italy?
I’m from a small town called Sant’Elpidio a Mare, in the Marche region, on the east coast of Italy. It’s where my family still lives, and I go back every chance I get—especially for holidays. It’s home.
You’ve worked with filmmakers like Sacha Baron Cohen, Roman Coppola, and now Dito Montiel. Does your acting process change depending on the director?
Absolutely. Every director brings something different. Some are very specific and detail-oriented—they’ll tell you exactly what they want and how to get there. Dito, on the other hand, was incredibly trusting. He gave me space to explore, to bring my own ideas into Marina’s character. He wouldn’t say “do this.” Instead, he’d ask questions, lead me into discovering choices on my own. That’s so empowering as an actor. Even though we shot the film quickly, Dito made the process feel fluid and natural. When a director trusts your instincts, it opens up your performance in a completely different way.
You’ve had breakout roles—like in ‘The Alienist’—that introduced you to international audiences. What’s been your most creatively fulfilling role to date?
Definitely Marina in ‘Riff Raff’. Also, working on Who Is America? with Sacha Baron Cohen was incredible because it’s such a rare experience to do satire at that level. But Marina will always have a special place in my heart. It was my first leading role in the U.S., with a dream cast. Coming from a small Italian town, I never imagined I’d get that far—and working alongside actors I grew up admiring was deeply meaningful. When I read the script, I immediately saw Marina. I pictured her with red nail polish, baby bangs, wearing oversized cardigans—this mix of edgy and sweet. I even cut my own bangs to get into character! It was love at first sight.
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skirt as belt. N21
full look. Mom’s Pants
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full look. Loro Piana
skirt as belt. N21
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And you’re acting in a language that isn’t your mother tongue. That’s a challenge on its own!
True, but I’ve been in the U.S. for a while now, and English feels natural to me at this point. It still isn’t my native language, but it doesn’t feel like a barrier anymore. Plus, I love playing with accents and characters from different cultures—I speak several languages, so it’s actually really fun for me.
You’ve been part of projects like Who Is America? that blend fiction with social commentary. Are you drawn to stories that challenge norms or provoke thought?
Yes, definitely. With Sacha Baron Cohen, for example, that kind of satire is unmatched—he’s a genius. Those kinds of projects don’t come along often. I believe that film and TV can—and should—reflect what’s happening in the world. Art can be a powerful way to give voice to what we’re all experiencing. I’m currently working on a vampire film with Alexandra Casavettes, which I’m also executive producing. It’s got a strong social commentary on the last few years, and I’m excited to see how audiences respond.
You’ve worked with legends like Liam Neeson and Ed Harris. What’s the biggest piece of wisdom you’ve picked up from working alongside actors like them?
Humility. No matter how big your career is, you have to keep showing up and doing the work. Bill Murray recently said something during press in New York—he corrected me and said, “Not just humility—false humility.” But the point is, you don’t rest on your laurels. You keep pushing, you keep bringing everything you have to every role.
Looking ahead, are there any stories you’re longing to tell—maybe something deeply personal or unexpected?
Oh, yes! There are so many stories yet to be told. But one thing I’ve been thinking about lately—maybe something comedic, like a cultural clash between Italian and Irish families. My partner is Irish, and the differences in our cultures are hilarious. Italians are so fiery and expressive, we take three-hour lunch breaks, we’re obsessed with food. Meanwhile, that’s totally foreign to other cultures. I think it could be really fun to explore that contrast in a comedy.
Sounds hilarious—and very real! Italians do it better.
LONDON, ENGLAND – MARCH 29: Usher performs on stage at The O2 Arena on March 29, 2025 in London, England. (Photo by Gareth Cattermole/Getty Images for USHER )
LONDON, ENGLAND – MARCH 29: Usher performs on stage at The O2 Arena on March 29, 2025 in London, England. (Photo by Gareth Cattermole/Getty Images for USHER )
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Usher’s ‘Past Present Future’ tour proves that nobody does performance quite like a legacy artist. Celebrating 30 years of hits, his decades in the industry shone through as his star aura radiated throughout the stadium. The Atlanta R&B superstar will spend his spring 2025 touring in London, Amsterdam, Paris and Berlin. Usher’s sold-out stint at London’s O2 arena covers 10 shows which the singer told the crowd marks every year since he’d last played in the city. The show is an impressive two and a half hours long with Usher being on stage for a large portion of it. Although the night is long, there is never a dull moment, making for an immersive experience.
The theatrical set design and interactiveness of the show keeps the pace of the evening exciting. Whether he’s roller skating around the stage in a bedazzled tracksuit or walking though the crowd dressed in nothing but some leather jeans and fur jacket with cherries in hand, Usher is a class act in bringing a show to life. His cherry act in particular has become an internet favourite since his 2024 Paris residency. Showing incredible stamina, he peruses several sections of the crowd in search of women he can feed a cherry too. The star knows how to play into the sensuality of his music, with projections on the screen showing hot and steamy re-enactments and talented pole dancers bringing the fun of an ATL strip club to the O2 as Usher sings ‘I Don’t Mind’ surrounded by women.
LONDON, ENGLAND – APRIL 01: Usher performs on stage with Naomi Campbell at The O2 Arena on April 01, 2025 in London, England. (Photo by Gareth Cattermole/Getty Images For Usher)
LONDON, ENGLAND – APRIL 01: Usher performs on stage with Naomi Campbell at The O2 Arena on April 01, 2025 in London, England. (Photo by Gareth Cattermole/Getty Images For Usher)
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The show’s dynamic lighting radiates off the sparkly ensembles Usher adorns at the beginning of the show. When he eases into 2010s classics like ‘Climax’ the lighting mimics the flashing lights of a dimly lit club. Although there is always something going on, whether that be his extremely talented dancers doing back flips or Usher hitting a handstand, there is a coherent thread of storytelling throughout the show. The artist uses AI to look back on different eras of his career through younger versions of himself, travelling through time and his discography. He not only reflects on his musical journey, but of his personal one too, touching on themes like fatherhood and former relationships.
On Sunday (6 April,) Usher thanked London crowds for their loud support and for being so welcoming to this “American boy” before bringing on special guest Estelle to perform her hit song of the same name. The show reminisced on his rise to the top while addressing the flaws he’s overcome on the way through hits like ‘Confessions.’ Although the audio quality was not always the best throughout the show, Usher’s vocals were studio perfect as were his signature dance moves, complimented by an ensemble of talented dancers who brought his music to life. Usher spent the evening effortlessly giving his all on his entire discography, meaning no fan was left disappointed. The ‘Past Present Future’ tour is a must see for anyone after a lively and memorable night of nostalgia.
leather jacket. SANDRO
vest. AHLUWALIA
trousers. PAUL SMITH
loafers. REFRENCE
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full look. Valentino
leather jacket. SANDRO
vest. AHLUWALIA
trousers. PAUL SMITH
loafers. REFRENCE
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full look. Valentino
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What does it take to inhabit the mindset of a man moments from death — suspended in the cold, black stillness of the deep sea, tethered only by hope and memory? For Finn Cole, stepping into the role of diver Chris Lemons in ‘Last Breath‘ wasn’t just an acting challenge; it was a test of endurance, empathy, and emotional precision. Known for his sharp instincts in ‘Peaky Blinders’ and ‘Animal Kingdom’, Cole has evolved from rising talent to a performer with palpable emotional depth — one who understands that great storytelling lives in the fine balance between technique and vulnerability.
In conversation with Schön!, Finn Cole reflects on filming ‘Last Breath,’ the physical demands of underwater filmmaking, the emotional toll of portraying real-life trauma, and the quiet resilience that carries both character and actor through the darkest depths.
Hi Finn! Thank you for chatting with Schön!. To start, how has your approach to acting evolved since your early days on ‘Peaky Blinders’ and ‘Animal Kingdom’?
I’d say I’ve learnt a lot of things since the early days: tools to make the job easier and more enjoyable. Mostly discipline with rest periods and routine in my down time to help me focus when working. The approach is different depending on what the part asks of me, I suppose. Figuring that out is the fun bit.
Are there particular techniques, rituals or methods you rely on to immerse yourself in a role, especially for intense performances like ‘Last Breath’?
With ‘Last Breath’, I had to focus on the diving training before I could even think about the character. Once I got comfortable with the technical side of the underwater stuff, I found lots of stretching and meditation helped me focus when I had the helmet on. That actually aligned quite nicely with what we were taught early on in training, so that was a change to my normal approach.
What makes a script stand out to you when you’re deciding whether to take on a role?
Pacing, character, and interesting dilemmas. This script offered all of those things and also allowed me to learn a new skill. That, to me, is a nice bonus!
Are there any actors or filmmakers who have significantly influenced your career or approach to storytelling?
Cillian and Helen were great role models in the early days of my career. John Wells imparted invaluable wisdom in the 6 seasons we worked together on. The list is endless! I love actors who use the ‘less is more’ approach and, alternatively, I’m a huge fan of those who push the boundaries. I just love film and learning from all who make it! Woody and Simu also deserve a special mention for the amount of fun they injected into the shoot day.
Do you see acting as more of a technical skill, an emotional experience, or a combination of both? How do you balance those elements?
Definitely a combination of both, depending on what you’re trying to achieve. You have to draw upon both of those skills very regularly. Emotional sensitivity and intelligence allows you to find interesting answers to questions posed by writers, but you also have to hit your mark and work with the camera efficiently. Best not to overthink it though…
How do you handle emotionally demanding scenes? Is there a process you use to step in and out of a character’s headspace?
Keeping distractions to a minimum is quite important. Without stating the obvious I also push myself to think deeply about the character’s headspace and try to sit with it for as long as possible. It can take a lot of energy though, so it’s sometimes hard to switch off after the more emotional scenes.
‘Last Breath’ is based on true events. How did knowing the real-life outcome impact your approach to the character and the story?
I think it’s important not to tell the end of the story before it’s time. You have to earn an ending like that. The movie, for the most part, plays in real time, making it crucial to stay fully present in each scene to avoid revealing any plot points.
polo shirt. Geordie Campbell
jeans. TDR @ GARBSTORE
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full look. Geordie Campbell
shoes. Lanvin
polo shirt. Geordie Campbell
jeans. TDR @ GARBSTORE
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full look. Geordie Campbell
shoes. Lanvin
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How did you prepare to portray a real-life figure like Chris Lemons, especially considering the harrowing circumstances he endured?
Yes, Chris was very helpful and gave me his phone number right away in case any extra correspondence was needed. There are aspects of the story that the movie could explore further than the documentary could, so it meant I had lots of deep and quite emotional questions for Chris. He was very generous throughout.
It was very helpful to have Chris to talk to, as well as other men who do this job. I wanted to capture the essence of Chris’ personality and I got to ask him some pretty difficult questions. It’s important to be respectful, though. Chris was an absolute gent while I was preparing for the role and extremely supportive throughout!
Has playing Chris Lemons in ‘Last Breath’ changed the way you think about fear, survival, or resilience?
Yes, I suppose it has made me a little more optimistic. It’s also a reminder of how fragile life is.
The film involves intense underwater scenes. What kind of training or challenges did you face while filming those sequences?
There were lots of challenges I’d never come across before on a film set. One of which was having to practically light myself with a flare during the pitch black underwater scenes. Another was having to angle the helmet in such a way that you catch my face, but not so you see the camera reflection in the visor. It made so many takes of backbreaking work unusable. That can be quite demoralising when you’re tired, but we had a fantastic communicative crew who helped us through it.
What was it like working alongside co-stars Woody Harrelson and Simu Liu in such a tense and confined setting?
It was a dream! I’ve been lucky enough to work with lots of fantastic co-stars in my career and these two fit nicely on that list. It’s a pleasure and a luxury to be able to rely on such great scene partners and also have a really good laugh while doing it. So much so we hung out a lot off-set too!
Director Alex Parkinson previously co-directed a documentary on the same subject. How did his experience with the real event shape his direction in this narrative film?
Alex is an expert on this story. I wouldn’t be surprised if he knew more about what happened than the people involved in the accident! His attention to detail and his patience was something that gave us great confidence and for this reason I can’t wait to see the next thing he makes!
The film delves deep into themes of survival and human resilience. How did you emotionally navigate these themes during filming?
I relied hugely on the creative people around me throughout shooting. I was also able to ask Chris some pretty intense questions which he answered frankly and with great emotional detail. It was then my job to do all of that justice on the day. It also helped massively to do all the diving for real. It allowed me to dive much deeper into Chris’ emotional state (if you’ll pardon the pun).
Considering the film’s setting in the North Sea, how did the filming locations and conditions contribute to the authenticity of the story?
We filmed at night in a big tank in Malta. A little warmer than the North Sea, but still pitch black and deep down. It played a huge role in ensuring the film felt claustrophobic and intense. You can’t fake the way the body moves in the water, so although it complicated certain aspects of the filming process, it really helped us achieve authenticity.
Is there a particular scene in ‘Last Breath’ that challenged you the most, either physically or emotionally?
Definitely the scene where Chris is coming to terms with and accepting his fate. It’s a strange headspace to sit in for so long. There were also technical lighting and framing challenges to contend with due to the location and plot. It’s hard to be told after a long take of giving it your all that the camera didn’t capture your performance because you haven’t lifted a light close enough to your face! Luckily the team were extremely communicative and articulate when directing me so we got there in the end. All in all it was a great challenge and one I won’t forget in a hurry.
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shirt. Saint Laurent
full look. Valentino
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shirt. Saint Laurent
