Thoughts on my work

I’ve been told many times that my film work is interesting because it has a unique feel. 

It’s great to hear, especially when I know that the stereotype of the photographer venturing into film isn’t so good (i.e. as if you just pressed “record” on a photoshoot).

To photography's credit though, it got me attuned to the powerful language of the nonverbal and sensitive to what hits home subconsciously. 

Because of this, it’s fair to say that I’m a little obsessed with all the subtle nuances of facial expressions, gestures and body attitudes. Not only because they are the key, for me, to a gut level emotional impact, but also because their graphic beauty, on their own, can affect us at an equally powerful level.

But, seeing and figuring what you like is one thing, getting it to come to life on demand is another. 

First off, choosing the right talent is everything. I emphasize that again, really everything. I consider that recognizing talent is as much of a skill as anything I can do on set. I'm humble enough to know that I can only build on the foundation of the talent in front of the camera, so It takes all of my skill and experience to choose wisely.

On a shoot, I see my role as setting things up properly for nice surprises to happen, rather than dictating directly what I want. After all, when you’re hunting for the unpredictable and rare, you can’t just ask for it.

Some form of movement, big or tiny, is something I always count on to help me. I find that you can’t beat the unrehearsed, genuine quality of expressions and gestures when they’re provoked by a body in motion.

The beginning of my filmmaking was when I came across people who spoke in that language of movement. They were dancers whose movement style blew me away by their blend of kinetic virtuosity and emotional transparency.

I had a hunger to put this on film. If a photo was going to come to life, the right way, this is the way I saw it happening. 

I wanted to use all the tools of filmmaking and editing to make it so compelling and hypnotic that you could look at it over and over, just like a good photograph.

 

Work Background

Directed broadcast commercials for Sleep Number & Elie Tahari for Kohl’s. 

Directed internet video for Louis Vuitton, Tudor, Brian Atwood and Rachel Roy (which film “MOVE” won “Best Picture” at the 2011 La Jolla International Fashion Film Festival).

Photography Clients: Ogilvy/Coca Cola,  Renault, Puma, Van Cleef, Raymond Weil, Dihn Van, Kookai

Worked for a number of years in New York and subsequently Paris, I've recently returned back to Los Angeles, where I’m now based.

On for the personal side

Born in France, I’m a dual national and completely bilingual, but since I’ve spent most of my life in the US,  I’m culturally more American.

My French wife, Gaelle, with her background as a professional dancer, has been integral as a creative muse on every one of my projects. We met on my first film “CONTACT”.  She has spent countless hours with me on every edit I’ve done, giving me invaluable input from the perspective of a dancer. We have have a boy, Camille, 4 years old, and a girl, Capucine, who recently turned 1.

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Gaëlle, Capucine and Camille

Gaëlle, Capucine and Camille