To me the song was really about an unbearably intense attraction that turns into an obsession. One thing I loved about it were the words being repeated again and again as this obsession that matters more than everything else, also the on a loop rhythm beating like a heart. It’s so good when the lyrics sound like dialogue/story-telling and you can use that within the narrative. « It feels way too chemical », « I’m confused », « I want you »….This was exactly it. The obsession idea immediately came out from the first hearing. Then there was this idea of a « chemical » drive which made me thought: In our collective psyche, is there anything more chemically loyal than a dog? Then « what if the absolute purest incarnation of loyalty was driven, not by choice, but chemically, to disloyalty? » I wanted to come with a sad comedy which would also be a funny drama. Picturing D like a tender loser, a gentle harmless big boy, kinda doomed to be unfaithful in his thoughts no matter how cheating is against his very own nature but still trying to fight that felt like the right way to achieve that. The dog figure embodies this extremely strong faithfulness symbolic plus it carries the most powerful emotions both touching and amusing. In the end, it’s about a funny obsession but also about the touching construction of life with a partner. It took approximately 7 weeks to give life to D, a bit more if you include the writing of the persona. Dogs are the best in passing emotions and breaking someone’s heart (at least mine). The reflex could have been to go for the visual humanization of the dog, but like many I know from experience how dogs don’t need that at all to pass emotions that we know as humans (we actually naturally tend to humanize them very often), and that it would be much more powerful to go for the dog instead of the human. Though D was an anthropomorphic character, I absolutely needed to get the most of the dog possible, a very realistic result Boxer-speaking- there was really this absolute need to avoid anything too cartoonistic/creaturish. The choice of the Boxer was a personal choice. The challenge was tough for our incredible (to say the least) prosthetic/mechatronic team because timing didn’t leave any time for a design testing period and we had to go into production without a safety net very fast. They did such an amazing job and I’m just beyond grateful for it. Also to create D’s world the main thing to me and my long-time production designer Louise Mekylla Bachir is always the need and love for not to situating the story, in time or in space. We mixed inspirations from various countries for urbanism, props and languages. Tried to create the multicultural world that we like to work with and where we like to picture ourselves. Tried to have the most fun with it. Because, if you’re gonna create a small world where your main character is a big anthropomorphic Boxer, you might wanna just do that.

Aube’s cinematographic and vibrant craft simply attracts. His love for details creates joyful and explosive visual universes like when he collaborated with belgian artist Angèle or french band L’Impératrice for « Peur des filles », which bought him the attention of the 63rd Grammy Awards Best New Artist Megan Thee Stallion, who reached out to Aube to direct the promo "Thot Shit ». In the music video, Megan and her thotties become a conservative senator's worst nightmare, pursuing him across town and making his life a living hell. Rolling Stone labelled it « best video of the year » when Cara Delevingne called it « Best video of all time ».