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Terrence Malick is as much known for his unconventional process as his unconventional style. Whether handing out reading lists instead of scripts, improvising scenes, or changing the entire direction of a film on the cutting room floor, Malick’s approach is anything but ordinary. When it comes to music, Malick could be considered more conventional. His films feature a blend of classical and contemporary music with original scores. But the way he weaves music through his ideas, characters, movement, editing, and subtext, brings a completely new dimension to these films.

Chayse Irvin is defined by contradiction: “I’ll shoot black and white. I’ll shoot color. I’m mixing things. I’m breaking the rules of image continuity,” he told us. But, the more you learn about him, the more you see that he’s not contradicting for the sake of contradiction. He’s disciplined and methodical, which makes him less a man of contradiction and more a man of paradox. There’s real meaning in it.

The most interesting things in life happen on the edges. So it’s not surprising that great films are made there too. Weirdly, it’s by exploring extremes that we come to better understand our day-to-day lives and selves. You have to travel far away to fully appreciate being home. At least that’s the operating philosophy for filmmaker Thibaut Grevet, whose film Coste Contemplation not only got him a Vimeo Staff Pick, but also caught the eye of Apple’s marketing department and the ear of our film team when he licensed Musicbed track ‘Speak, We’re Listening’ to score his film.