Michael Jackson’s ‘Thriller’, Daft Punk, and the 1998 World Cup: The Work That Made Boulawayne

Boulawayne is a director whose career combines luxury and urban codes in fashion, beauty and commercial films. His collaborations range from major luxury brands such as YSL and Prada to les Galeries Lafayette, as well as major magazines such as Vogue and Harper’s Bazaar.

His cinematography always conveys a technical approach that is mainly based on movement. His experience as a former multi-platinum music producer may be the sense of rhythm that is an integral part of the aesthetic of his films.

Boulawayne is also a director in search of development and renewal, in particular through his use of new technological and cinematographic means in the service of storytelling and immersive visuals.

"First of all, hello everyone, and thank you for having me for this interview. My name is Boulawayne. I’m a French director and photographer, originally from the south of France and now based in Paris. I’m delighted to answer your questions today and extremely grateful for the interest you’re showing in my work."

The ad/music video from my childhood that stays with me…

Boulawayne> There are many, but I would probably say ‘Thriller’ by Michael Jackson, directed by John Landis, or later ‘Around the World’ by Daft Punk, directed by Michel Gondry.

In both cases, I have an incredibly vivid memory of my emotions when discovering them. I was hypnotised, feeling like I had just witnessed something truly singular, different, creative… and memorable. Two totally different styles, but both standing out from everything else. Not singular for the sake of it, but singular because they were so right.

The ad/music video/game/web platform that made me want to get into the industry

Boulawayne> From what I remember, I was blown away by Nike’s ‘Joga Bonito’ campaign with the Brazilian team for the 1998 World Cup. I thought, ‘Wow, these Brazilians are incredible!’ I didn’t even know you could dribble with so much skill or do trick shots like that with a ball. I wasn’t even a big football fan, but the vibe of that commercial was just amazing. It felt so cool, and I thought it must be an incredible thing to create.

Of course, looking back, it has aged a little compared to what’s being done today with technology and 3D, which now allow almost infinite creative possibilities. But at the time, it was mind-blowing a campaign with such good energy that made you want to be part of it.

The creative work that I keep revisiting…

Boulawayne> The one thing I always come back to is music. If only one art form were to remain, it would be music. Gainsbourg once said music was a minor art, but I believe it’s the greatest of all major arts.

It’s the only form that can trigger such deep, powerful emotions in so many people at once. I could live without television, without books, without paintings but never without music. And like any art, it has even more depth when you’re knowledgeable, but it also connects instantly and primitively, almost reptilian in a way. That’s what makes it indispensable for me.

But to be more specific, I’d say I’m a huge fan of all music of Black origin reggae, soul, hip hop, afro, electro…

For example:

Delroy Wilson – ‘Have Some Mercy’

Minnie Riperton – ‘Inside my love’

Sheff G – ‘Woke up’ / Griselda – ‘Dr Birds’ / Tyler the creator – ‘St Chroma’ / also like a lot French rap

Fred Again – ‘Place to be’

Caracal Project – ‘I need a break’

Sch – ‘Mannschaft’

Chase and status – ‘Badadam’

Hamza – ‘god bless’

J-doe – ‘I don’t give a fuck about nothing’

My first professional project…

Boulawayne> It’s hard to draw a clear line, because in everything I’ve done whether when I was producing music, or later as a photographer or director there’s always been the same driving force: deep passion and the urge to create, long before I thought of it as a career. The boundary between passion and profession has always been very thin. But if I had to pick one moment when I thought, ‘Okay, now I’m really in it,’ it would be my very first campaigns for the brand Polène. That’s when I told myself, ‘We’ve got something here I could do this job for a long time.’

The piece of work that made me so angry that I vowed to never make anything like *that*…

Boulawayne> In France during the 2000s, there was an ad for a dietary supplement called Juvamine. It repeated its slogan endlessly with a cheesy wordplay: “Si Juva bien, c’est Juvamine.” It played dozens of times a day on every TV channel, ridiculously repetitive and extremely irritating.

Back then I was just a viewer, and I didn’t grasp the marketing strength behind it. With hindsight, it was unbearable but incredibly effective. Ask any French person today, and everyone still remembers that ad 20 or 30 years later.

The piece of work that still makes me jealous…

Boulawayne> There are so many ten a day, really. It’s a tough question because in this field there are so many talented people, and we get blown away constantly. Sometimes it’s because the story is told beautifully, sometimes it’s the photography, the concept, the art direction or all of them together.

Overall, I think we work in an industry where the average level of creativity is extremely high. Access to technology is easier now, which has allowed many people outside the traditional system, but full of ideas, to get into the field. That’s raised the creative bar a lot, and it’s exciting.

I love the work of directors like Oscar Hudson, Thibaut Grevet, Shapxo, Marius Gonzalez, Ian pons Jewell … and so many more. They are all different but super talented.

The creative project that changed my career…

Boulawayne> I’d say the video I shot for Galeries Lafayette at the Jussieu University campus. It was done with very little, but with a lot of heart and drive.

It was a multidisciplinary film with drones, robots, rigging that I produced and directed on a very small budget. But I had real creative freedom, and the agency and client trusted me. I’m grateful to them for that. Looking back, I think it was one of the films that really put my name on the radar of Paris agencies and creatives.

The work that I’m proudest of…

Boulawayne> That’s always a hard one, because I always want to say ‘the next one.’ But I’d highlight my two latest projects, which were both proof-of-concept films.

One was for a YSL fragrance (Myself), and the other, coming out soon, is for Renault. The Renault one especially is very striking in terms of concept, technique, camerawork, and a really powerful piece.

I was involved in this and it makes me cringe…

Boulawayne> Honestly, I’ve done plenty of cringe projects (laughs). But more importantly, I think of one project I didn’t do, which I’m very glad about. I was offered to direct a national TV ad for police recruitment in France. It’s not something I believe in at all, and if I had done it, I think I’d have really regretted it. That would have been extremely cringe.

The recent project I was involved in that excited me the most…

Boulawayne> Once again, I’d say the Renault project. It took a long time to come together because of its technical complexity and the huge amount of R&D beforehand. There was a massive 3D challenge, but at the same time a very tight budget.

I had to convince an incredible team to join me. Without them, none of it would have been possible. Huge thanks to Alexandre at Players Paris, who produced the project, to Yann, Jean and the whole Cinemotion robotics team, the best motion control robot crew in the DoP Julien Lascar, and to Illogic Studio, who did an amazing job in post production.

The film still hasn’t been released due to political reasons beyond our control, but I really hope I’ll be able to share it with you soon. Stay tuned on my IG @Boulawayne and contact The Banquet for work.