Journeying Through the Lens of Elisa Baudoin's Visionary Artistry
Few creators embody the essence of artistic expression as profoundly as Paris-based talent, Elisa Baudoin. A director and photographer, her journey into the cinematic and visual arts is as captivating as the images she captures. From harbouring a clandestine desire to direct, to finding her fully realised creative calling, Elisa is a force to be reckoned with in the industry.
Elisa's trajectory is one of passion, courage, and unyielding creativity. Beyond the confines of traditional filmmaking, her talents extend into the realm of music videos, where she orchestrates symphonies of sight and sound with finesse. Her distinctive style, marked by evocative imagery and nuanced storytelling, has garnered acclaim. Whether she's delving into the depths of human emotion or crafting whimsical narratives that defy reality, Elisa's work resonates with an authenticity that captivates hearts and minds alike. Signed to Loveboat's sparkling roster of talent, she continues to collaborate with renowned brands and artists, serving as a testament to her boundless creativity and unwavering dedication to her craft.
LBB’s April Summers learns how Elisa's foray into filmmaking was serendipitous yet inevitable. And how, since then, she has embarked on a riveting odyssey, crafting narratives that transcend the ordinary, infusing each frame with a surreal allure that leaves audiences spellbound.
LBB> I’d love to hear about how you were introduced to the world of filmmaking? When did you first realise you had a natural affinity for the craft?
Elisa> It happened so naturally that it's hard to pinpoint a date. I had friends who needed a music video, and I had such a strong desire to try out directing that I bought my first camera, to test myself. It was like a secret I had been nurturing deep inside for a long time, without admitting that I could pursue it, until the day I gathered up the courage to take the plunge.
LBB> What types of creative projects are you most attracted to? And why?
Elisa> I love creative projects that allow the transmission of figures of speech into images, like visual literature. It's really this research and challenge that fascinates me. Whether it's something very emotional with visual metaphors, for example, or completely tongue-in-cheek projects. I think I'm very influenced by surrealism. I also like it when something is off, when we go beyond reality.
LBB> Tell me a bit about your recent work with Westfield – how did you put your own personal spin on the brief when writing the treatment for this campaign?
Elisa> For Westfield, I was fortunate to have a fairly flexible creative base, which allowed me to insert lots of little ideas. The agency was very receptive to my proposals, and so was the client, which allowed me to challenge myself as well!
LBB> Let's talk about the music videos you've directed – how does this creative process compare to the approach you take when directing commercials or music videos?
Elisa> Ultimately, the process is quite similar. In both cases, it's about collaboration, about successfully combining the artist's or client's vision and my own vision –
bringing it to life.
It has even happened that I was chosen for a commercial because both the agency and the client found themselves perfectly aligned with a music video for a particular song: Le Coup d’Soleil de Bon Entendeur feat Emma Peters.
I genuinely believe that the exercises have a lot in common. The only real difference is that I listen to the song on repeat in order to really immerse myself in an idea and come up with a pitch for the music video, whereas for commercials, I do this in silence!
LBB> Speaking of which, you have directed many incredible, eye-catching music videos. Which one stands out as the best example of your “signature style”? And why?
Elisa> It's very hard to say because they all reflect a part of me. If I had to choose one, I would say "Mon Idole" by Janie, because it's the project I felt most in tune with what visually moves me. It's a piece that speaks about the artist's loss of her father. The black and white with the colour twist, the minimalist scenes invoking solitude, the metaphor of this last dance as a final goodbye. There was a total alchemy that makes it my favorite project.
Though, I think the one that best illustrates my "signature style" is "Le Coup d'Soleil," and it's probably the most accomplished as well, likely because it's the one with the most elaborate art direction, with that irony I appreciate above all.
LBB> You also happen to be a very gifted photographer – do your skills in photography and directing crossover or inform one another in any way?
Elisa> Oh, thank you! Photography came much later for me, after I started directing. I struggled with a digital camera and didn't persevere until the day I bought my first analog medium format camera. It was a revelation for me. Film offers a warmth and a preciousness that makes every shot an event. The photo is etched into reality since it appears on the negative, and it's not possible to erase it with a click.
The fact that the model then takes their role seriously (and so do I) creates a moment somewhat outside of time, allowing for a visual concentrate truly unlike any other format. Photography has taught me a lot about directing my subjects well in advance to avoid wasting film, about carefully considering what I want to show, and it had repercussions on my work as a director, preventing me from redoing my shots 800 times.
LBB> Is there a particular project, market, brand, or artist you would like to collaborate with in the near future?
Elisa> There are many! I listen to a lot of music, and there are plenty of artists I'd love to collaborate with: James Blake, Nathy Peluso, Radiohead, for example. All are artists who create incredibly creative music videos, and each time, you wonder why you didn't think of it before them!
For commercials, I'd love to venture into more fashion-related content, and perhaps do an ad for Longchamp. I actually modelled for them when I was 10 months old, so I'd love for things to come full circle...
LBB> Why did you want to sign with Loveboat? And how has working with them elevated your capabilities as a director and photographer?
Elisa> I signed with Loveboat because I felt a really good vibe with Margaux, one of their producers! I had a meeting with the team, and felt a genuine mutual desire from both sides to work together. You could say it was a very successful "date."
LBB> Finally, is there a project you're currently working on that you could tell us a bit about?
Elisa> At the moment, I'm heavily involved in fashion photo editorials, which I hadn't had the chance to delve into until now. It's an incredibly creative outlet that I've been dreaming of exploring and missing out on, so I'm really excited to dive in!
