We Need More Flowers
You started out studying Art Direction & styling before segueing into directing – what triggered the decision to switch?
To me it doesn’t feel like I switched. During my studies, I realised film was the medium I wanted to pursue, so I just executed most of my assignments with the medium of film. Since art direction and styling actually is an important part of filmmaking (at least to me), it was pretty doable and taught me a lot about what I liked/didn’t like.
What are some of the earliest films which made an impact on you? And where do you find inspiration more generally?
I remember being obsessed with Titanic when I was 8 years old (and way too young to watch it). I had pertussis [whooping cough] which had me stay at home for at least two weeks. And I watched Titanic every single day during my recovery. I was infinitely impressed. Maybe that’s where I acquired my taste for a little drama and downward spiral storylines.
Novo Amor, I Feel Better
You describe yourself as an ‘introvert on the outside, an extrovert on the inside’ – how does that duality reflect itself in your directing aesthetic and approach?
There’s just always so much going on in my head. Big thoughts and strong emotions I often find very hard to put in words, but which I can express in visuals, in my (personal) work. To me, imagery does speak louder than words and is able to show the inexplicable when done right. That’s a paradox in itself that I feel very drawn to.
Your work is characterised by highly stylised set pieces, intricate staging and compelling visuals – take the literal knives in the back and the disembodied heart in a butcher’s cabinet in Novo Amor’s I Feel Better video, about a painful break-up. What does the creative process look like for you? Are you a big forward planner, or do you tend to go with the flow during the shoot?
I’d say I am a very big forward planner and I like to be as granular as possible during prep, because that actually allows me the headspace during the shoot to go with the flow more if necessary, to steer off on the day and improvise a little when things don’t feel right anymore. Because when I know I have done so much thinking and planning up front, I feel confident to follow my instincts on the day when I want to change it up or try something extra. The Novo Amor video was actually a perfect example of a shoot where, let’s say, 65% of the things we shot was meticulously thought out and the rest came on the day – or at least was not scripted. Especially with music videos I’d like to plan in an hour for improv. Just running around and shooting whatever comes to mind.
A lot of your work, such as your videos for Mr Probz and Yellow Claw, seems to centre around toxic relationships, and the dark secrets that lie under the surface – is this a theme you have deliberately set out to explore, or is it something more subconscious?
Definitely subconscious. I myself actually never looked at it that way, but I guess your ideas often, yet unknowingly tend to come from a place you know.
In your latest short film, Lead Balloons, you offer the viewer a glimpse into a dystopian future, where suicide feels like the only escape. It’s unremittingly grim, and yet it’s hard to tear your eyes away from the screen, even though you know the outcome is hopeless. Tell us a bit about what sparked the idea, and how you developed it into a short film.
Initially, this was supposed to be a music video for a track called ‘Lead Balloons’. Unfortunately, the track never came out, but the project had become very dear to me so I needed to get the footage out in some way. Many years, sweat, and tears later I’ve finally managed to release it independently as a short film. But the title of the song, ‘Lead Balloons’, and visualising that literally to me felt like a symbol for hopelessness. So that was my only keyword when writing. And from there on the ideas and associations came automatically.
We Need More Flowers
What themes or concepts are you keen to explore in future projects, whether personal or commercial?
I truly hate the word, but I do feel drawn to ‘taboo’ subjects. Things or subjects that could be described by others as dark, perverse or provocative, but in which I find utter beauty and intrigue. I actually have been playing with the idea for quite some time now to one day make a highly stylised porn that also works on a metaphorical level. That’s still very much in the conceptual phase though.
Do you have any exciting projects in the pipeline for the next few months?
I am mainly very excited to be working again. The next few months are looking fully booked with finishing up two music videos and prepping/shooting two commercials, which I am just very happy with and grateful for.
Interview by Selena Schleh
Director Lisette Donkersloot Executive Producer Jeroen Van Den Idsert Producer Marty Keizer Production Manager Stephanie Drontmann 1st Assistant Director Farah Abdi D.O.P. Tibor Dingelstad Focus Puller Alex Hollay Assistant Camera / Data Nick Parree Gaffer Rene Dingelstad Hair & Make-Up Faisa Sontdiomedjo Styling Ramona Marroquin Hawley Art Director Jan Jasper Van Oord Production Assistant Justin Krul Production Assistant Vera De Bode Production Assistant Jimmy Groeveveld Production Assistant Julian Patinama Stunt Coordinator Simon Van Lammeren
Producent Hazazah Film & Photography Editor Brian Ent @ Kapsalon Post Production Storm Post Production Grader Bart Verraast, Remi Lindenhovius Sound Design Niels Den Otter @ Audentity Music Jamie Xx - Gosh