I’ve been editing advertising films for AXA for a number of years now.
Long before the MeToo movement, I saw the insurance company and Publicis Conseil focus their communications on women’s rights around the world. I’m very proud to be part of this process, which, beyond the rhetoric, and like the right to abortion in the French constitution, is writing in black and white what these rights are.
And it’s no coincidence that this is being orchestrated by a team made up mainly of women: thank you to Armelle Sudron, Marta Grech, Francesca Vitello, Laura Aondio, Alexia Besnarous and Marie Faivre. And let’s not forget Marco Venturelli, Steve O’Leary and Pierre Mathonat: after all, we’re women just like everyone else.
The film “Violences conjugales” is based on the brand film “Being a woman shouldn’t be a risk” directed by Madeline Clayton.

Another film by Mathilde de l’Ecotais, projected on a huge screen at the Los Angeles airport, and cutdown spots all over the world, while you’re waiting for your flight.
A fine mixture of sensations, colored liquids in a glass, sweet and violent at the same time, just like the taste of cognac. To be consumed with moderation!

Second Mercedes spot with Wilfrid Brimo : when I watch this cut, I’m always astounded by the energy animals bring to a film.

Most of the time, an editor cuts either the director’s cut, either the agency’s cut: of course, there is more space for artistic expression in a director’s cut.
In this precise one, Olivier Rose wanted me to tell an abstract story playing with bubbles… The soundtrack always helps to do so: will you be able to recognize a sound extract of David Lynch’s “Lost highway”?

Another AXA campaign, directed by Frédéric Planchon, with magnificent framing and photography.
The version I show is a Work In Progress, with Steve O’Leary’s music proposal: we haven’t adapted the image but still, the matching with lyrics is just incredible.

This web campaign for DS Automobiles was amazingly interesting to edit: the best selling author Joel Dicker describes how narrative creation works. I often use this campaign when teaching my students.

This is the typical kind of spot that seems easy to cut, but for such a product, the stakes are so important that every detail in every shot is important: nothing should be left to chance.
Covered by Queen & David Bowie “Under Pressure”.

This was my second collaboration with sweetest Noe from Paris… in Germany: a european campaign for C&A’s autumn-winter collection, trying to rejuvenate its image.

An exceptional spot by Philippe André, for the launching of this Nissan car.
My colleague Thierry Hoss started the project and I finished it with the agency and this astoundingly precise director: whenever I would trim a single frame in a cut without Philippe, he would notice it immediatly and explain why the cut was better with this frame.
Shot in Berlin!

This film includes a private piece of art, a glass table created by Mathilde de l’Ecotais for a burgundy wine producer: it is projected from the ceiling onto an invisible screen in the table. I had complete creative freedom in editing the image, music and sound.

I immediately accepted Ben’s project because of the subject. At first, we wanted the film to be more positive, but as the shooting and editing advanced, we realize we couldn’t tell this true story with less violence.

Though this film is already 10 years old, I am very proud of this cut, starring Laetitia Casta, one of the most beautiful women I know (might she be made up or not): especially when she’s shot by Stéphane Coutelle.
Hot, hot, hot director’s cut!!!

The final version and first editor’s cut for a commercial by Wilfrid Brimo. It is always interesting to re-watch a first completed cut and notice how few shots are left in the final cut… I pasted my “I confess, too masculine” sound edit.
Watch out your weight!