Supakitch is a French painter and tattoo artist
23rd December 2019
MadeGood – Please give me some background on yourself as a film maker, and how you got into making films. Is this a typical example of your work?
Damien Vignaux – Jaq started with modelling and acting, and I started as a photographer and motion designer, so we use both of those angles in our work, always trying to be close to the topics we work on, but at the same time have a technical thinking and putting experimentation first. We just slowly got into film-making together as it seemed to be the medium that encompasses it all (music, writing, sense of photography, rhythm, composition…) and it gives you unique opportunities to reach amazing people and places. This film is a good example of our work in a sense that we were completely free to deliver our vision, so there is no client reinterpretation and changes at all.
We know each other very well with Supakitch and it’s always a pleasure to try and merge with an artist’s visual style.
MadeGood – How did you come to know of the artist Guillaume Grando, or Supakitch. What made you want to make a film about him?
Damien Vignaux – We know and inspire each other since years, we are really good friends. He has always been painting, and we have always been making photography and film so from time to time we think about collaborations. But we didn’t shoot in a while because he gets a lot of collaborations and interviews and I always said that if we were to film again, it would be to do something more meaningful and impactful. When he came up with the topic of his next exhibition, we decided this was the right time to get back at it!
MadeGood – It’s a very colourful, stylised film, with bits of what I would guess is 8mm film? I see you worked with DOP Aleksandar Kosutic on this one. Please tell me a bit about your working dynamic.
Damien Vignaux – We have a pretty easy and natural workflow with Aleksandar. This type of film is a bit specific because you don’t storyboard anything so you need to work with people who won’t really question your vision. I have a basic structure in mind that I want to bring to life, I know how many locations I need, how many shots in each style to make a good edit in the end, so after a little preparation, we go mostly hand-held and we experiment on the go. Also because Supakitch is an artist, not an actor, and I don’t want to write things for him. The film is about him and it has to stay true to his work and style. This is more a visual essay about his own work.
We did shoot some extra super 8 rolls because I think it’s a nice texture to bring rhythm to the cut, and I always like how super8 gives you that kind of “best friend’s perspective” on things. It has this family film style that makes your subject relatable and close.
MadeGood – Similarly music and sound design is really great. Tell me a bit more about how it was made.
Damien Vignaux – That was also an easy part on this one because we worked with our friend Jean Baptiste Casini, who is an amazing producer in those deep mellow beats, and we are all really great friends.
We know each other, we have the same culture, we live the same way, so we barely need to send a brief. We just knew we wanted his style in this.
MadeGood – What are you working on next?
Damien Vignaux – We didn’t had a lot of time recently to work on those types of personal projects, which can be a bit frustrating. The last one we released was a fashion film for a friend who is a jewellery designer. It’s called Red Obsession and is entirely shot on super 16mm by another incredible DP friend called Jalaludin Trautmann. In the last months we did a ton of commercial jobs, with some really creative and fun stuff for clients like L’Oréal, Hyundai, Oakley…
We started writing some passion projects, mostly around artists, but we will see how much free time we can put on developing those in the upcoming year !