When we first met Meeks & Frost it was clear that the duo come as a pair, one that translates powerfully into their work. Born and raised in London with Jamaican roots, the brothers have built a creative partnership grounded in their shared vision. Having known each other literally since birth their bond runs deeper than collaboration. It’s a brotherhood that informs every story they tell. Their debut work came in January 2020 with the breakout music video for Pa Salieu’s “Frontline,” a raw and electrifying piece that not only marked their arrival but also captured the pulse of a new wave in British music and culture.
Since then, Meeks and Frost have continued to carve their own lane. Born in Britain yet shaped by their Jamaican identity and a childhood that took them from London to Nigeria and Poland, their perspective is both local and global, a reflection of movement, identity, and belonging. Together, they create work that feels honest and authentic rich in texture, rhythm, and emotion. Whether behind the camera or in the edit suite, Meeks and Frost move as one, pushing each other creatively while staying rooted in the same purpose: to tell stories that resonate, represent, and move people. This is their 5 series discussing their 5 biggest inspirations.
Meeks: Hi, I’m Josh. I’ve always been a visual storyteller at heart. I was born in London, but I’m second-generation Jamaican, all of my grandparents are Jamaican, and that heritage has always been a part of who I am. Growing up, life was never just one place. I spent my early years in Peckham, but then moved abroad, living in Nigeria for a while, then Poland, before eventually coming back to the UK. That constant moving, seeing the world from different perspectives, really shaped the way I think and create.I think it gave me a lens that’s a bit different from most.
From a young age, storytelling was everything. Movies, TV, the stuff my mum made me watch, she’d take me to the cinema all the time and had this huge DVD collection. I didn’t know it at the time, but all of that planted the seed for what I do now. For me, it started with photography. In my late teens and after university, I started building a portfolio, mainly in fashion, but also more general photography work. Naturally, I wanted to take that next step: moving from still images into film, taking what I’d learned with the camera and using it to tell stories in motion.
A picture can say a thousand words, sure, but film can do so much more. Music videos and narrative work fascinated me from a young age, growing up watching MTV, absorbing that energy and world. I also spent some time on a fashion show called PAQ In-House, where I learned a lot about production. Eventually, I started directing seriously, and that’s when things really began to click for me. That’s the short version of my journey, but really, it’s just the start of the story.
Frost: I’m Frost, co-founder of Meeks and Frost. Like my brother said, we had a similar upbringing, travelling a lot when we were young, but London born and Peckham raised at heart. For me, becoming a filmmaker came a little differently. I was one of those kids who was good at a lot of things but didn’t know which path to take. I was into sports, coding, and cooking. I had a few talents, but I wasn’t sure which one I wanted to pursue seriously.
When I moved back to London at 12, I started Year 7, and as I went through school, I slowly began to fall out of love with the system. It just didn’t work for me. By the time I got to college, I knew I didn’t want to go to university. I hated being put in a box. I think that’s part of what drew me to filmmaking, it gave me the freedom to express myself. I’m a very expressive person, and I don’t like being confined.
We grew up surrounded by films. We had stacks of DVDs at home, and I was the kind of kid who’d watch 16- or 18-rated movies at eight years old, just because I could, and I loved it. I’ve always been innately creative. As a kid, I’d play with toys and make up stories, write poems, invent little worlds. I didn’t realise it at the time, but that creativity was always there. Josh noticed it and encouraged me, he said, “Yo, you trying to do this directing thing?” I’d already been on a few of his sets, so I was interested. When he asked if I wanted to start directing, I said, “Yeah, let’s do it.” And ever since then, I’ve been fully in, directing now for almost seven years.
Frost: Derschutze
Did you ever imagine you’d end up working together as brothers? Was it something you dabbled in growing up, or did you jump into it later on and find that the collaboration just naturally clicked?
Meeks: It’s always been a bit unexplainable. Our paths just met at the right time. I’d been on a few sets, getting into video, learning from people who were directing, and experimenting with my own ideas and semi-directing. It felt more like divine timing than a planned decision. We didn’t decide this as kids, we just came together, and it worked.
Frost: People often ask, “How do you work together?” Honestly, it’s hard to explain. It’s kind of telepathic, the energy, the blood connection, the trust and reliability we have toward each other. The timing just made sense: I was searching for a creative path, he was looking to expand his craft, and together we directed our first project. He was working in photography, and we naturally evolved into a directing duo. That’s the journey.
What does the creative process look like for you guys, from concept to final piece? Is it back and forth? Does one of you usually lead?
Frost: Our process is mostly telepathic energy. For example, if a music video brief comes in, we both listen to the song, create a shared doc, and start throwing in ideas. It always ends up a hybrid, a mix of both our perspectives. Over six years, we’ve learned each other’s strengths and weaknesses, but the beauty is we can both step into any role if needed. Sometimes one of us leads creatively while the other handles client management, and sometimes it’s the other way around.
Meeks: When we started, it was completely spontaneous. Neither of us studied film formally, so we were figuring out roles as we went. I’ve always been drawn to visual storyboarding, I was a Tumblr kid, collecting references long before Pinterest existed. Analysing imagery I was inspired by and wanted to recreate. Over time it became learning how to take these references and articulate those into fleshed out ideas or narratives, and so this is something my brother and I would start doing together, as we navigated how to handle pre production. It never felt like we needed to assign strict roles immediately.
Meeks: We don’t really have a fixed process. We’re fluid, reacting off each other and leaning into our strengths. On a recce, for instance, I might focus on the vibe and storytelling of the scene, while my brother finds the frame and angle or vicaversa.. We could swap roles if needed, but we play to what suits us best for that particular concept.
Frost: That’s one of our superpowers, combining our strengths to create something unique. It’s not one brain taking inspiration from the other; it’s two brains building one vision. We pull inspiration from multiple sources, merge them into a hybrid, and over six years we’ve developed a kind of telepathic wavelength. Sometimes we even pick the same references independently, it just clicks.
Meeks: It’s never about splitting tasks 50-50. Meeks and Frost is a single creative entity. And honestly, it’s a lot of fun. I’ve laughed during edits when we’ve written notes only to realize we’d independently written the same thing. Our tastes and ways of articulating ideas often align, it’s the blood connection, I guess, that makes it feel coincidental sometimes.
Inspiration 1 – “Black & British” – Wretch 32 with Little Simz and Benjamin A.D. Music Video. Released 2024
Meeks : This will forever be a moment for us. The label AWAL was working with producer Adam Watt, someone we knew of but hadn’t yet collaborated with. He reached out about a Wretch 32 project featuring Little Simz, and Benjamin AD, asking us to direct it. Naturally, we were all in. Being fans of all three artists, it felt like a no-brainer. When we learned it was “Black and British” for Wretch 32 “Home” project, we knew it would be special, something that required introspection and authenticity.
Meeks : A lot of the visual language came from our own experiences as Black and British creatives with Jamaican roots. We wanted every frame to feel lived-in and truthful. The brief was open: to visually represent the Black and British experience. Wretch brought his own ideas, like the interlocked hair scene, while we handled much of the direction, styling, casting, and locations. It was a real collaboration built on shared culture and mutual respect.
Meeks : They also wanted to weave in archival touches, family photos, portraits, that sort of thing. Those “easter eggs” gave us a foundation to expand on. We explored storytelling through picture frames, referencing Night at the Museum, where static images come to life. That became a key narrative device. We also tapped into our own network of artists, Shaquille O’Keith, Slawn, Amber Cashmere, and more, to feature authentic Black British art and help us elevate the project. That sense of community made the project what it is.
Frost : Technically, it was one of our most ambitious shoots. We experimented with green screens, motion tracking, and other techniques we’d never used at that scale. On set, it took trust, shooting empty frames knowing they’d transform later. But with the right team, we pulled it off, proving we can achieve big ideas even on a tight budget. The challenge made it all the more rewarding.
Frost : Collaboration is central to who we are. We value input from our DOP, VFX team, editor, and producer, it’s a shared process that elevates the story. Two minds are good, but many perspectives make it greater. What stands out most is the people we worked with: Wretch 32, Little Simz, Misan Harriman, Benjamin AD, and the respect shared across the board. At the listening party, seeing the video resonate with Wretch 32’s friends and peers was unforgettable.
Meeks: Mcm/Puma
Inspiration 2 – Lord of the Rings trilogy
Films directed by Peter Jackson based on the books written by J R R Tolkien. The Fellowship of the Ring 2001 The Two Towers 2002 The Return of the King 2003
Meeks : It’s the greatest piece of fiction ever made. I remember seeing The Fellowship of the Ring with my mum at Peckham Cinema and thinking, this is awesome, how did they do it! I’d never seen anything like it. Tolkien’s imagination is unmatched; conceptually, it’s just epic. It’s hard to put into words.
Frost : It wasn’t just a film, it was a world. It didn’t instantly make me want to direct, but it showed me how powerful storytelling can be. They pushed fiction to new heights, and the immersion was unreal. Lord of the Rings came at the perfect time. Even watching it years later, it still hits. What stood out was that it wasn’t glossy or overproduced, the magic came from Peter Jackson’s dedication to Tolkien’s vision. That long-term commitment inspires how we work.
Meeks : What’s most inspiring isn’t just the fantasy or action, it’s the work ethic behind it. The passion, patience, and attention to detail that went into that trilogy. Spending years on something meaningful and being rewarded for it.
Frost : The whole trilogy is a mammoth watch. The first time seeing the full story, it stuck for weeks. The layers, the world-building, it’s insane. From a technical side, it’s not about flashy tricks. The VFX, SFX, and sound design are near perfect. Every detail is deliberate. The soundtrack alone is timeless, it’s immersive even today.
Meeks : The score gave the trilogy a signature sound, and that idea of having a recognisable style is something to take seriously. Even in our work, we want people to feel. The small details matter, the emotions, the interactions, the silences. It’s the same in any project, whether a blockbuster or a small music video, emotion drives everything.
Frost: Geechi Vigilante/Only The Blind
Inspiration 3 – THE LAST DANCE – documentary series 2020 on Netflix directed by Jason Hehir
Frost : Documentaries give a unique perspective, you’re seeing someone’s real life. You connect with them in a way you can’t always with fiction. The Last Dance captured footage from years earlier, showing his mindset, career, and challenges. There are lessons about striving for greatness, adapting to setbacks, and always moving to the next game, the next season, the next championship. It’s inspiring personally and professionally.
Meeks : We’ve watched it multiple times, it’s incredible. Part of what drew me in is my athletic background. Sports have always taught discipline, handling loss, and striving for greatness. Michael Jordan’s story is fascinating because he’s one of the best athletes of all time and seeing his journey, the triumphs and the struggles, it hits differently.
Meeks : Authenticity can be the key to relatability. Even in music videos, viewers should feel it. But creative license matters too. Nonfiction grounds the story, while conceptual elements allow us to heighten emotion and narrative. Sometimes, straightforward facts are enough, but when we have freedom, we use conceptual touches to communicate without words. In The Last Dance, for example, it could’ve just been Jordan talking, but showing him alone in a gym with a basketball conveys emotion and story visually.
Inspiration 4 – Deja Vu – film released 2006, directed by Tony Scott
Meeks : I like when an actor’s presence stays consistent over time. Of course, there are method actors who completely transform for every role, but I’ve always appreciated when someone brings their own essence to a performance. Like Denzel Washington is the best example of this. You know what you’re getting, but it still feels powerful every time. That’s what I love about film.
Meeks : The idea of going back in time is such a strong concept. Definitely something we’d love to explore more. We’re really drawn to the idea of playing with time, flashbacks, nonlinear storytelling, those moments that make the audience question, “Wait, is this the future or the past?” We just haven’t had the right project yet to really lean into it, but it’s something we’re excited to build into future work.
Frost : Yeah, 100%. Even visually, that film’s dark, fast-cut energy connects with us. The quick edits, the tight and intimate framing, that’s very much our style. We lean toward a dark, moody aesthetic, not quite grunge, but definitely shadow-heavy. We use light and darkness almost like paint, shaping what the viewer can and can’t see. Some people love bright, clean visuals; for us, it’s about intention. Light under the eyes, half the face hidden, you don’t see everything, but you see enough. That’s our approach, controlled, cinematic, and a little mysterious.
Inspiration 5 “Meeks” – Michael Jackson “You Rock My World” Music Video – released 2001, directed by Paul Hunter
Meeks : So this was my selection. My brother loves this video as well, but for me, Michael Jackson is easily one of the greatest storytellers of the ages when it comes to music videos. From my upbringing and experience, when you’re watching an MJ video, you’re basically watching a short film. And that was before I even knew much about short-form filmmaking or visual storytelling. He always had that production level, that premium storytelling energy in his videos. Everything he touched has that vibe: a clear narrative, structure, and purpose.
Meeks : Even now, when so many music videos are just performance-based or stripped-back, we always attempt to bring narrative and story into every music-related project. From day one, that’s been the mission. And when you watch MJ’s videos, there’s everything, dialogue, cameos, acting. We love that. You’ve got names like Chris Tucker next to MJ doing his thing. It’s shot on film sets, the styling all blends and makes sense to the context, and there’s this incredible moment when the music stops and they start using sound design and visual rhythm, like the dancing itself becomes the beat before the track kicks back in. The execution is flawless. It’s hard to fault. The grade, the lighting, the theme, it’s all crisp and intentional. A clear winner for me.
Frost: New Era/Only The Blind
Inspiration 6 “Frost” – Kendrick Lamar Ft Sza “All The Stars” Music Video – released 2018, directed by Dave Meyers and The Little Homies
Frost : I feel like I searched for a long time for a music video that really made me feel something. This one took me straight back to watching Black Panther in the cinema, then immediately searching for the video after hearing the song in the credits. For me, it’s the combination of attachments. I’m a big Kendrick Lamar fan, a big Chadwick Boseman fan, and a big Marvel fan. I love when things are connected like that because it makes the experience feel bigger than just one avenue.
Frost : I didn’t just watch the video, I’m watching it for Kendrick, for Black Panther, for Chadwick. The timing of it all lined up as a cultural moment, it was special. Black Panther was such an important film, not the first Black superhero movie, but one of the most defining moments in film and pop culture. The music video captures that perfectly. It’s full of African heritage, strong conceptual elements, and stunning styling. The African-inspired looks, the sea of hands, the giant Black woman in that regal outfit, all these bold, symbolic visuals make it so powerful and impactful. It’s about representation, emotion, and meaning. Plus, it’s just a great song. I love when worlds collide, when there’s a connection between artists, film, and culture. It makes the whole thing feel grander.
Special thank you to Billionaire Boys Club, Daily Paper, Derschutze, Duke & Dexter, Geechi Vigilante, MCM, New Balance, New Era, Only The Blind, Puma and Real Artistic People.
