FO DOES
Photo credit : Angini Pai
What do I do you may ask ?
I CONVEY IDEAS inTO LIFE
Yes I do. I do want to create and dream, always. I’d like to spend my life telling stories. Here’s a bit of it, hope you’ll enjoy.
Crews credit
DOP for « House » : Safran Lecuivre
DOP for « Blessed » and « Silent Moments » : Aaron Markus Graff
BTS Photographers for « House » : Jay Burton and Cambyse Tabatabay
BTS Photographer for « Carte de voeux de la RTS » : David Nguyen
ABOUT
House 2023
To tell some of my story, I’ll use the visual help of the BTS (behind the scenes) taken by Jay Burton on the set of « House », a promotional short film directed by David Nguyen in 2023 on which I was working as a set and prop designer alongside the very talented Myriam Meyer (that you can see wearing a red top right there).
The first thing to say is that I love people, I enjoy working with and surrounded by creative minds, exploring the depth of possibilities. On set, I’m giving my best to create not just background scenery but an actual mood. I met Myriam on this project and it clicked instantly. As a team we built five main sets in an abandoned sanatorium and the space we used to store our material and objects looked like an antique shop.
As set designers, we need to understand the vision of the director to transform thoughts into concrete, imagination into action. For a scene, David wanted a room with practical effects of haunted objects moving and laughing. We built systems of transparent wires to activate them while filming. And this right there is the second thing that would be relevant about me :
I just love finding solutions to enigmas and try them out until it works, especially if my imagination is required in the process. I mean come on, you create something in your mind and THEN you bring it to life ? What kind of god-like power is that ?
The set of House was truly something. Suspended in time with pastel walls, high ceilings sublimed by organic moldings, objects here and there telling stories without even trying, just because they were left behind. We never had that much space on set. During the day, the film crew always seemed to be busy as bees, twirling around, laser-focused eyes and hands on the job (or on the set dogs). The place we gathered to eat was in a semi-circular room at the far end of the sanatorium’s north wing. At night, the production team would dress all the windowsills in photophores, partly because we were running on a generator and therefore had to conserve our resources, but also because that’s what we know best :
We encode reality in poetry and dreams
wanna work together ?
let’s get in touch
