Stromae, Santé
Your most recent music video for Stromae’s track Santé really captures the joy of movement and the universal language of rhythm. How did you come to settle on the three separate strands of the video, between the boat, the restaurant and the office sets?
Our objective was to show the diversity of the world within the boundaries of Kyiv. We would not be able to recreate a street in Africa for example so we moved indoors to have greater control over the environments. I liked the idea of a waitress cleaning after a big feast; that scene really encapsulated the main message of the track. The office enabled us to establish a stronger relationship between Stromae’s appearance and the main characters and it was also incredibly funny. The boat came up last, after a long search for a heavier industrial space. I wanted to shoot one scene outside and the boat brought more poetry to the mix.
To what extent did the locations in Ukraine shape your narrative?
Not that much, we knew right from the beginning what was going to happen to these workers irrespective of where they were. It was the action that happens before the dance – that stemmed from the locations. Some images are very symbolic – the waitress tasting the cake, the office worker getting a photo taken, the fish being harvested on the river and then shown on a plate in the restaurant. Those shots tell their own stories.
Stromae, Santé
What were you looking for when you were casting?
The balls. The fearlessness. And the depth. Apart from some Kyiv regulars and a couple of actors we flew in, we mostly worked with actual employees and street cast. I was looking for characters who can dance ecstatically as if they were 17 years old. The track also has a very unusual syncopated beat so that made the dance even more demanding.
It must be incredibly unsettling for you having based the production in the Ukraine and now knowing that they are in this devastating situation.
What can I even say? It’s heart-breaking. That defiant spirit that Ukrainians show in this conflict was just as strong when we were there shooting. The production company, the crew, the talent, everybody pushed so hard to make this music video as good as possible. Sometimes you work with people that see your project just as another day at work but not the people I met in Ukraine.
I saw a nation in a flux, a vibrant capital that was rapidly moving away from its Soviet history, setting its own narrative. To see empty barricades on the very streets we saw bustling with life only a couple of months ago, it’s just surreal and so unfair to a nation that already suffered so much. I hope Europe will be as sympathetic with Ukraine once this is over, we owe it to them.
You’ve worked with various artists, from Never Sol to Annet X. How do you approach this kind of collaboration? Do you find the creative process changes each time? How did you work with Stromae on Santé?
It’s always such a delicate relationship. The artists bring the music they nurtured for so long and then I come in with my own vision. I always spend a couple of months developing each music video and the final work needs to represent both parties. It always comes down to personal chemistry and mutual trust. Sometimes the label is heavily involved and sometimes they let you do your own thing. Stromae’s video was little different, Mosaert (the creative force behind Stromae) approached me with a very specific concept so I could focus on actual directing work.
Your commercial, A Little More Than You’d Expect, for OnePlus, is full of fun and cheek. Were you given much creative freedom or did you work to a tight script?
I was lucky to start with a script that was already loaded with lots of little tricks. I kept adding more while finding the right tone – funny but also surreal. I was very inspired by the world of comic books – the simplicity and expressiveness of comic book frames matched the world of this commercial really well. This also translated to a pretty specific sound design taking inspiration from the world of Disney fairy tales I watched as a kid.
Bromance
Your short film Bromance, an absurd story of friendship, conflict and forgiveness set to the dramatic background of Verdi’s Requiem, recently picked up a 1.4 Shortlist nomination. Where did the inspiration for the film come from?
This was originally meant to be a school document about stunt men. The world of tough men, the stunts, the testosterone, this whole Hollywood facade quickly led to its counterpart – the soft and cute side of these men, their hurt feelings. I always adored the gentle giant archetype. One thing led to another and I quickly realized that there’s a lot of potential in matching seemingly opposite things. Noir atmosphere meets soap opera, intense life and death moments follow banal birthday conundrums. It was a hilarious shoot.
Your directing style has been described as creating a “self-contained universe, a kaleidoscope from another world”. Was your upbringing full of imagination and escapism through storytelling too?
I was not brought up in an artistic family and found my way into filmmaking pretty late but I was always a wanderer and a bit of a dreamer. Hopelessly impractical, I remember endless journeys with my dad to a local hobby store. While my dad was shopping for tools and material, I walked around touching everything, always curious about the colours, shapes and textures. I couldn’t care less about what any of it was actually for.
What are you working on next?
I am currently developing a new personal project dealing with the notion of virtual reality, games and what makes us happy in this so-called post-capitalist society. Hopefully it won’t take a year to finish like every project I do!
Interview by Becca Nichols
Jara Moravec website
Representation:
Hamlet – France, Belgium, Netherlands, Asia
Bistro Films – Czech Republic
Kode Media – United Kingdom
Be sweet Films – Spain
Stromae, Santé
Production company: Hamlet
Director: Jara Moravec
Cinematographer: Filip Marek
Producer: Pim Verhaert
Executive Producer: Jason Felstead, Ruben Groots
Post-Producer: Monika Kraft
Editor: Katarina Gramatova
Color Grader: Arthur Paux
Animation: Nina-Lou Giachetti
Postproduction: Blue Faces
Sound design: Samuel Jurkovic
Agency: Mosaert
Creative Director: Luc Van Haver
Creative Director: Paul Van Haver
Stromae’s Fashion Designer: Coralie Barbier
Executive assistant: Evence Guinet – Dannonay
Communication & project manager: Gaëlle Birenbaum
Artist’s Personal Assistant: Evence Guinet Dannonay
Choreographer: Marion Motin
Service Production Company: Shelter
Service Production: Shelter.film
Producer service production: Albert Zurashvili, Dasha Deriagina
Producer: Dasha Deriagina
1AD: Val Semko
2AD: Ulyana Magas
Production Designer: Natalia Makhovska
Stylist: Margarita Shekel
Makeup artist: Dasha Taivas
Hair stylist: Iris Onufrienko
Casting directors: EASY
PM: Max Matveev
Focus Puller: Ilya Varatanyan
1AC: Dmitriy Mykhailov
2AC: Ruslan Vitkovskiy
Gaffer: Valeriy Butkov
Playback: Aleksey Goniailo
BTS photographer: Serge Prostakov
1PA: Ilya Zakharov
2PA: Anastasiia Melnychenko
OnePlus, A little more than you’d expect
Director: Jara Moravec
DP: Filip Marek
Production Company: Kode Media
Annet X, Bylo Nebylo
DP: Veronika Donutkova
Producer: Monika Kraft
Production Assistant: Pavlína Berčíková
Production Company: Bistro Films
Costume Design: Nik / Zenita
Set Design: Anna Pospíšilová / Louis Traore
MUAH: Martina Loydová
Sound Design: Radimo
Graphic Design: Kateřina Olexová
Catering: Tomáš Valkovič
Casting: Simonsays
1AC: Robert Smutný
Key Grip: Ludvík Hradílek
Grip: Jakub Kasala
Gaffer: Erik Žila
Best Boy: Jakub Marek
Photographer: Vojtěch Veškrna
BTS: Sára Kožucharová
Bromance (short film)
Director: Jaroslav Moravec
Cinematography: Tomáš Kotas
Produced by: Kryštof Zelenka, Veronika Jelšíková
Stunts: Filmka
Costumes: Marek Volf
Production Design: Matilda Tlolková
1st AC: Matěj Kovárník, Dominik Brostl
2nd AC: Jakub Veinlich
Key Grip: Josef Kos
Crane: Camera Team Prague
Steadicam: Filip Rybář
Gaffer: Roger Keist
Colorhouse: Metropolitana Color Barcelona
Color Grading: Ruben Galamba
Color producer: Eli Meoz
Retouch: RUR
PA: Adrian Beciar , Adam Rýgl, Lilly Tvrzová, David Sup
Music: Marek Urbánek
Makeup: Michaela Kyselová
Sound design and Sound mix: Jan Šléška
Sound recordist: Petr Kolev, Alex Strapková, Radim Lipčík
BTS: Photos Marcel Lobenwein
Graphic Design: Jan Novák
Never Sol, LEON
Director: Jaroslav Moravec
DOP: Filip Marek
1st AC: Jan Hofmann
Gaffer: Tomáš Volter
Fixer: Lud Monaco
Art Department: Matěj Kačírek
MUA: Phil La Noiraude
Grading: Daniel de Vue / A52
Sound Design: Sam Jurkovič / Cinq
Graphic Design: Jan Novák
Producer Matěj Paclík
Executive Producer: Veronika Jelšíková
Production Company: Stink Films
Music and Lyrics by Never Sol
Mix & mastering by GaEx and Never Sol
at Gargle & Expel Studio (gaex.org)
Recorded at Mother 66 Studios & Golden Hive Studios (Amák Golden)
Drums recorded by Jiří Bendl (Manon Meurt)
This video was created thanks to the generous support of Václav Dejčmar.
Swyft, Beautiful Living
DP: Filip Marek
PD: Nina Feriancova
Wardrobe: Martin Polak
Sound design: Samuel Jurkovic
Grade: Joseph Bicknell / Company3
Producer: Monika Kraft
Executive Producer: Jack Goodwin / Kode Media
Executive Producer: Pavel Prejda / Bistro Films
Production Company: Kode Media & Bistro Films
Agency: 20something