The director, signed to Rogue Films' new breakthrough talent division REBEL. in the UK, talks about his whirlwind year, the importance of having trust in his work - and has two answers for most questions in his Snapshot. Jeremi Durand is a French director and photographer who divides his time between Paris and London - when he's not travelling the world making beautifully cinematic, thought-provoking films.A former designer specialising in design fiction, his move into filmmaking and photography quickly attracted attention and acclaim as he developed his distinctive visual style creating memorable imagery through a combination of in-camera and post effects. He has worked with high-profile talent such as Muse, Placebo, Röyksopp, Gesaffelstein, Digitalism, Yodelice, Zimmer, Kaycyy, Jon Bellion & Illenium - and tennis legend Roger Federer. In the past year, he has become a member of the founding directing roster at REBEL., the new division for breakthrough talent at Rogue Films, for his UK home, while also making two acclaimed videos for Chinese Man and Mustard featuring Travis Scott. So we're delighted that Jeremi found time to sit down with the probing questions on the Snapshot Q&A, before he speeds off in the fast lane to the big time... Name: Jeremi DurandBirthday: 24th January 1983. I grew up in the 90s. I moved to the UK in 2004.Where did you grow up? St Etienne, France.Place of further education and course (if any)? Product Design & Design Fiction at Sheffield Hallam University, then moved to London and studied acting at the Actors Temple on Warren Street.Where do you live now? Between North London and France.What were the important first projects for you, in terms of a learning experience and getting noticed?Zimmer's Lost Your Mind, which was my first professional music video. Kaycyy X Gesaffelstein's OKAY! & The Sun. And MUSE's Compliance. These three MVs represent three different major steps in my career.[vidtoken data:0][vidtoken data:1]Best film you’ve seen this year? Dune II & Emilia Perez.Favourite song/album/music artist this year? Billie Eilish's Hit Me Hard And Soft, for the richness and finessing of her music. And Dua Lipa's Radical Optimism, for the extreme efficiency of the tracks.Favourite music video/videos you’ve seen this year? Kendrick Lamar - Not Like Us. Asap Rocky - Taylor Swif. I know, I subtly squeeze two choices in each of your questions - I’m sorry, but there’s just too much to like! I promise I’ll try to stop.The most important improvement to the industry would simply be planning more in advance, label side.What has been (or usually is) your favourite night out this year? Boiler Room wherever they are. It never disappoints.Name a film or video or other creative work that had a huge influence on your career choice?Honestly, that’s such a big question… you’re not helping, ha! I think it’s a combination of so many creative inspirations that funnel down into one little spark, one instant, and step after step, that paves one’s career choice. I could speak about Tim Walker’s photography work, as well as Storm Thorgerson’s or David LaChapelle’s.Music videos from the likes of Martin de Thurah (Röyksopp - What Else Is There) or Chris Cunningham (Portishead – Only You). Also, Rocky I and Rocky II. Don’t ask me why.[vidtoken data:2] In terms of music video-related jobs of the past year or so - what was the most rewarding creatively, and why?Chinese Man - We’ve Been Here Before. First of all, we had the complete and full trust from label and artists, so it enabled us to go all the way and create something special for this very special track. And I absolutely love the music. Even after 1000 times of listening to it, it still gets me every time; This track has a very specific tone to it since it’s a waltz with hip hop on top. Matching that uniqueness was the biggest challenge, but the most rewarding experience once we found the right vision.Eventually, almost everything is in-camera. VFX were mainly used to clean, help with one multi-pass, or enhance a few bits here and there, which also extremely rewarding to me. Don’t get me wrong, I love VFX, but I also love shooting practically. In fact, I love the combo. I’m also looking forward to embrace AI technologies in my work. Never to replace the craft, but rather to help push it out of the park creatively - exactly what VFX have been doing for 30 years now.[vidtoken data:3]Matching the uniqueness of the track was the challenge, but most rewarding once we found the right vision.Mustard ft Travis Scott - Parking Lot. Shooting in LA with my dream team, shooting Travis... what else is there? Big shout out to Jordan Buck (DOP) here. He had a lot to do, and the experience ended up being very rewarding. We’re going to enter the festivals circuit now, so we’ll see how much more rewarding it can get.[vidtoken data:4]What are your favourite other (non-mv) projects of the past year or so?A commercial that I shot with MYND (c/o WANDA) for SYNC in Vilnius, Lithuania. Crazy brief, crazy team, crazy clients, everything to be loved! I made this with David Wright, my friend and one of the best DPs there is. We had a lot of fun working on this one as it’s very cinematic and it feels very much like a blockbuster trailer. We had a lot of freedom and trust too.[vidtoken data:5]What’s the most surprising thing that’s happened this year? Going from being awfully quiet at the beginning of 2024, to utterly and crazy busy in no time, flying back and forth to LA to shoot with Travis. Also signing with top notch production companies across Europe and the US.Most annoying/irksome thing that’s been going on this year (work-related or otherwise)? Briefs with unrealistic budgets and deadlines that I see landing on my desk from time to time. 100% of the time, you can be sure that no project ever sees the light of day in the end.Your top suggestion to change and improve how the music video industry works?Paying directors in the final round for writing full treatments would seem fair. However, to me, the most important improvement would simply be planning more in advance, label side. There is a reasonable amount of time that would undoubtedly benefit the final result of any project. So why jeopardize your project straight from the beginning? Trust and (some) time, are the two most precious assets for any project success I believe.Eventually, more union [presence] maybe, and more mentoring for the younger directors. I see a lot of people trying to help and that’s a very good thing, but I think it needs to be more structured and more supported by companies.What are you looking forward to most for the rest of the year? My next project, always. And snowboarding, always #2.• Jeremi Durand is with REBEL., the new platform for breakthrough talent at Rogue Films, in the UK, and represented by Alexa Haywood at Free Agent for music videos.
Promonews - 3 days ago