Fifty years after Talking Heads first took the stage at CBGB, opening for the Ramones in 1975, the seminal band has chosen to mark this milestone with something remarkable: the first-ever music video for “PSYCHO KILLER,” their 1977 classic that helped define an era. What makes this celebration particularly striking is the collaboration at its heart—acclaimed filmmaker Mike Mills directing four-time Oscar nominee Saoirse Ronan in a performance that transforms our understanding of the song itself.
Ronan, fresh off her powerhouse performances in FOE and THE OUTRUN, brings an extraordinary range to what could have been a straightforward concept. Playing an office worker navigating her daily routine, she delivers a masterclass in physical storytelling, dancing, squirming, shuddering, and screaming through the mundane reality of modern existence. Mills captures her moving through the full spectrum of human emotion, including those feelings that can only be expressed through what he might call “a weird little dance.”
The video operates in cycles—sun rises, Ronan dons a new outfit, wears a new emotion on her face, copes with coworkers and boyfriends, commits to going through the motions until moonrise resets everything for another day. It’s Mills’s signature exploration of repetitive mundanity, the same keen eye that made BEGINNERS, 20TH CENTURY WOMEN, and C’MON C’MON such resonant examinations of how we actually live our lives.
For Ronan, this project represents something deeply personal. “To simply be mentioned in the same breath as Talking Heads is hands down one of the coolest things that has ever happened to me,” she said, “let alone making a video with the singular Mike Mills to accompany one of their most iconic songs. I have grown up listening to their music, so this truly is a childhood/teenage/lifelong dream come true.”
Mills, whose enviable creative career spans graphic design for Supreme and Sonic Youth to music videos for Air and The National, found particular meaning in this collaboration. Talking Heads’ debut album “literally changed what was possible in life for me,” he explained. “To get to play with the subversive, uncategorizable beauty of Talking Heads, and to play with Saoirse who brought so much surprise, power, vulnerability and mischief to the party, it’s one of the best things I ever got to be a part of—still can’t believe it actually happened.”
What emerges is something that deliberately subverts expectations. Rather than lean into the morbid implications of the song’s title, Mills and Ronan create a sympathetic interpretation that finds the human vulnerability beneath the surface. As the band noted, “This video makes the song better. We LOVE what this video is NOT—it’s not literal, creepy, bloody, physically violent or obvious.”
This video arrives at a moment when Ronan continues to cement her position as one of cinema’s most compelling young performers. Her recent work has shown an actress unafraid to take risks, whether in period dramas or contemporary pieces, and her collaboration with Mills suggests an artist eager to explore new creative territories. The pairing feels natural—both Mills and Ronan share an ability to find profound meaning in seemingly ordinary moments, to locate the extraordinary within the everyday.
The timing coincides with Talking Heads announcing a Super Deluxe Edition reissue of their second album, More Songs About Buildings and Food, set for release on July 25, suggesting this video is just the beginning of their 50th anniversary celebrations. But it’s hard to imagine they’ll top this particular collaboration—a meeting of minds that transforms a classic song into something entirely new while honoring everything that made it timeless in the first place.
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