À l’occasion des fêtes de fin d’année et du lancement de la ligne Très Vivier spécial Noël, Roger Vivier dévoile une réinterprétation du Duo des Chats de Gioachino Rossini, un air populaire et humoristique du XIXème siècle. Derrière la caméra de Michael Haussman, Nadia Tereszkiewicz incarne deux sœurs jumelles qui représentent la pièce devant leur famille, un soir de Noël. Au rythme effréné de la partition originale, le duo s’emballe, se déchaîne jusqu’à se battre sous le regard malicieux de la mère, jouée par Catherine Deneuve, qui a attisé leur rivalité. La cause de la querelle ? L’unique boîte de souliers Roger Vivier que tient la mère. Un court-métrage ironique et passionné qui a séduit Catherine Deneuve, muse de Roger Vivier. “Lorsque Gherardo [Gherardo Felloni, le nouveau directeur artistique de Roger Vivier] m’a expliqué le projet et l’ironie de l’intrigue, ma curiosité a tout de suite été piquée. Jouer un rôle en fonction du tempo d’une chanson est quelque chose que je n’avais encore jamais fait“.
Published on 11th December 2018 @shotscreative
Grande dame of the French screen, Catherine Deneuve, presides over a vicious (but stylish) cat-fight in this entertaining fashion film.
The film sees a pair of twins giving a recital in front of the whole family at a grand opera house. But during a feline rendition of Rossini’s classic, Duetto Buffo di Due Gatti, they spot that their mother is only holding one box of Roger Vivier’s Très Vivier shoes – and the claws come out.
To coincide with the launch of its Très Vivier styles for the Holiday Season, Pulse Films director Michael Haussman has shot a gorgeous new film for Roger Vivier starring the legendary French actress Catherine Deneuve.
Inspired by Rossini’s famous performance piece Duet for Two Cats, the film tells the story of an eccentric Parisian family’s Christmas celebration. Under the watchful eye of their mother, two twins turn a perfectly pleasant performance in front of the whole family into a vicious cat fight over a pair of Très Vivier pumps.
The film was produced by Haussman’s own production company Person Films.
PRODUCTION COMPANY: Cecile Leroy/Person Films
DIRECTOR: Michael Haussman
DOP: Eric Gautier
STYLIST: Elisa Nalin
MAKEUP ARTIST: Sandie Rolland
ACTOR: Catherine Deneuve + Nadia Tereskiewitz
ART DIRECTION: Andrea Danese
SET DESIGNS: David Bersanetti
ASSISTANT DIRECTOR: Pierre Abadie
PRODUCTION MANAGER: Nicolas Marie
EDITOR: Luca Tontonati
POST PRODUCTION / VFX
POST PRODUCTION COMPANY: EDI Effetti Digitali Italiani
COLOURIST: Claudio Beltrami
AUDIO POST: Antonio D’Ambrosio (Disc to Disc)
Il direttore creativo della maison si racconta svelando tutti i dettagli sul divertente corto interpretato da Catherine Deneuve e Nadia Tereszkiewicz e dedicato alla linea Très Vivier.
Era il 1967 quando Catherine Deneuve, nella celebre pellicola Belle de Jour, le indossò con un coat doppiopetto, cappellino e occhiali da diva. Oggi le iconiche décolleté Très Vivier tornano con un nuovo design che celebra l’originale, grazie a Gherardo Felloni, direttore creativo di Roger Vivier dallo scorso marzo. Il lancio arriva in occasione delle festività con un progetto davvero speciale. Catherine Deneuve in persona è infatti tra le protagoniste di un fashion film dedicato alla linea. L’attrice e icona di stile veste i panni di una madre esigente, che assiste all’eccentrica esibizione delle sue figlie, due gemelle capricciose interpretate magnificamente dalla bella Nadia Tereszkiewicz. La performance – tutta fatta di miagolii, visto che l’opera scelta è “Duetto buffo di due gatti” di Gioachino Rossini – si trasforma presto in lite, quando le due ragazze notano che la madre ha con sé una sola scatola di calzature Très Vivier. La divertentissima pellicola, che vanta la regia di Michael Haussman, si conclude con un lieto di fine quando Catherine Deneuve mostra loro una seconda scatola.
“Quando Gherardo mi ha illustrato il progetto e la trama ironica, sono rimasta subito affascinata. Interpretare un ruolo seguendo il tempo di un brano musicale è qualcosa che non avevo ancora fatto”, ha commentato Catherine Deneuve. E, a gran sorpresa, nel sofisticato salotto parigino dove è ambientata la performance, c’è anche Gherardo Felloni, seduto al pianoforte. Lo abbiamo intervistato per scoprire qualcosa in più su di lui e sul progetto.
Da dove parte la tua ispirazione?
“Sono una persona eclettica, le mie ispirazioni possono essere diverse: vanno dalla musica all’interior design. Quando ero più giovane volevo fare l’architetto. Il cinema, in particolare, è essenziale per me per definire le immagini delle donne che ho in mente: quando ho ridisegnato la scarpa iconica di Roger Vivier, quella del film Belle de Jour indossata da Catherine Deneuve nel 1967, il modo in cui Mademoiselle Deneuve si muoveva, il suo atteggiamento, la sua silhouette borghese, tutto ciò mi ha colpito. Ho creato così il nuovo design della scarpa Très Vivier, tornando all’originale, con un tocco un po’ rétro, ma in stile contemporaneo; puoi sentire l’ispirazione dell’eleganza di Catherine Deneuve durante il film”.
Raccontaci di più della tua donna, che hai definito un ‘fiore in un giardino’. Com’è la donna Roger Vivier by Gherardo Felloni?
“Non ho un solo tipo di donna, sono al servizio di tutte le donne, di epoche e stili diversi. Mi piace l’idea che donne molto diverse possano indossare le mie creazioni, perché credo che questo sia il goal principale per un designer che adora le donne”.
Hai un’icona di stile?
“Sono totalmente onesto quando dico che è stato un sogno incontrare finalmente Catherine Deneuve alla nostra presentazione SS19 a Parigi, e avere, successivamente, la possibilità di fare questo film con lei”.
Guardando le tue creazioni, modernità e heritage si fondono perfettamente. Come si raggiunge l’armonia tra questi due mondi, apparentemente tanto distanti?
“Sì, ho un forte rispetto per l’immenso patrimonio della Maison: gli archivi sono così ricchi che ho trascorso molto tempo a studiare i diversi stili e creazioni. Ho poi dimenticato tutto: non voglio copiare nulla dal passato, tengo a mente ciò che ho visto e poi creo qualcosa di completamente nuovo, di contemporaneo. Il design di Monsieur Vivier, poi, era così moderno ai suoi tempi che è ancora oggi rilevante come riferimento e ispirazione”.
Alle Très Vivier avete dedicato tutto il progetto Holiday. Cosa rappresenta per te questa calzatura?
“Questa calzatura è un classico, ed è stata una sfida, poiché è la firma della Maison. Per me era importante presentarne una nuova interpretazione: volevo tornare all’originale del look di Catherine Deneuve, ecco perché era importantissimo averla in questo film”.
Il look festive perfetto per te? (Naturalmente firmato Roger Vivier).
“È la scarpa Très Vivier con fibbia di strass… magari in velluto rosa”.
The Maison Celebrates the Holiday Season with a Film full of Eccentricity and Irony
PARIS, Dec. 10, 2018 /PRNewswire/ — To coincide with the launch of its Très Vivier styles for the Holiday Season, Roger Vivier introduces a film starring legendary French actress Catherine Deneuve and other colourful characters. Inspired by Rossini’s famous performance piece Duet for Two Cats and directed by award-winning filmmaker, writer and music video director Michael Haussman, the juicy film tells the story of an eccentric Parisian family’s Christmas celebration. Under the watchful eye of their mother, two twins turn a perfectly pleasant performance in front of the whole family into a vicious catfight over a pair of Très Vivier pumps.
Deneuve, a style icon and muse of the Monsieur Vivier, plays the mother overseeing a special performance in her grand Parisian home: seated in front of a makeshift stage, the two twins, played by Nadia Tereszkiewicz, share the microphone for their rendition of the slow meowing duet by Rossini. As they sing, they notice only one wrapped box of Roger Viviershoes resting on Catherine Deneuve’s lap.
The performance quickly turns into a feral and cat-like fight. As the theatre stage becomes a metaphorical boxing ring, Catherine Deneuve becomes its symbolic ringleader. The clawing, rolling and pulling culminates in the theatre backdrop tumbling down over them. Trapped inside the rolled-up curtain, they are like two fighting cats caught in a bag. Smiling with a look of ironic pity on her face, Catherine Deneuve saves the day, sliding out from behind her chair another identical box of Roger Vivier shoes. Jubilant, the twins hold their shoes to their cheeks with pride.
The fast-paced and humorous film set to the original cat duet music also features appearances by Roger Vivier creative director Gherardo Felloni and Couture and Oriental costume collector Cecilia Matteucci Lavarini.
“Working with such an icon like Catherine Deneuve was a dream that finally came true in this film for Roger Vivier,” explains Gherardo Felloni. “The idea of women fighting for a desire object it is always been a creative reference to me, I love that irony, fun, passion. And it really works on screen to see Nadia, beautiful and young actress, acting like a cat on this music.”
“When Gherardo explained me the project and the ironic plot, I was intrigued immediately. Playing a role according to the tempo of a song is something I had not done yet,” says Catherine Deneuve.
The actress has a long history with the brand, since sporting the original version of the buckle pump in “Belle de Jour.”
CATS: To celebrate the launch of his Très Vivier shoe, fledgling Roger Viviercreative director Gherardo Felloni tapped none other than Catherine Deneuve to star in a short film launching today on the brand’s web site and social media channels.
Deneuve has a long history with the brand, since sporting the original version of the buckle pump in Luis Buñuel’s 1967 movie “Belle de Jour,” but this is the first time she has collaborated on a project with the house.
The short is titled “Duo des Chats,” or “Cat Duo” in English, and is inspired by Gioachino Rossini’s performance piece “Duet for Two Cats.” In it, two meowing opera singing twins end up having a full-on cat fight over a pair of Très Vivier pumps held in the lap of their mother, played by an exasperated looking Deneuve, who is taking in the performance in her grand Parisian home. In the end, she relents and gifts them both a pair.
“The idea of Catherine Deneuve gifting two young girls a pair of Roger Vivier shoes is deeply symbolic for me, it represents a passing down, from one generation to the next,” said Felloni, who said working with Deneuve was a little intimidating.
“First because she’s a great actress, and second because she’s one of the most important references of my career. If I had to think of an actress in terms of shoes and looks and beauty, it’s her,” said the designer, who got to take a cigarette break with Deneuve. (She smokes Vogues.)
“She spoke to me in Italian, she’s super funny and is amazingly beautiful, I’m obsessed. And she probably knows the brand better than me,” he quipped.
Nadia Tereszkiewicz plays the twins, with Felloni in the role of the pianist.
The film was directed by award-winning American filmmaker, writer and music video director Michael Haussman, and art directed by Felloni’s partner Andrea Danese.
MICHAEL COOPER | DECEMBER 28, 2017 | 6:24AM
7. “Take a Bow” (1994)
Madonna’s longest-running No. 1 single on the Billboard Hot 100 chart, “Take a Bow” is an R&B-pop ballad co-produced by Kenneth “Babyface” Edmonds. Backed by a full orchestra, the second single from the Bedtime Stories album also finds influences in Japanese music. While the song itself is one of Madonna’s most beautiful sonically, some of its success no doubt was linked to its cinematic music video. Helmed by Michael Haussman and filmed in Ronda, Spain, it features Madonna as the neglected lover of a Spanish bullfighter. “Take a Bow” proved that the Madonna of the ’90s was just as much a force to be reckoned with as she was in the ’80s.
Read the full article on LA Weekly
Interview with Michael Haussman on 26th January 2016
Pulse/Person Films director secretly lives in Rome where he looks to the stars, Instagram & drones for inspiration.
What’s the best ad campaign you’ve seen recently?
I honestly can’t remember seeing anything on the air that blew me away recently in the US or Europe. Most of the good work I see is on people’s reels… and there is some great, inspiring and refreshing stuff out there… I just have no idea where any of it ever plays.
What website(s) do you use most regularly and why?
I don’t spend a lot of time navigating websites. I do visit a lot because I work in many different mediums – art, film, commercials, music videos – but surfing for work normally has a purpose, like looking up a specific artist, musician, film clip, location, etc. But I don’t look at any sites as a matter of routine.
What’s the most recent piece of tech that you’ve bought and why?
I’m in the process of buying the new Sony Alpha 7 camera because it can shoot in amazingly low light and also has 4k capability. It’s also very compact and is the perfect travel camera.
Facebook, Instagram or Twitter?
Always Instagram: Michael_Haussman.
What’s your favourite app on your phone and why?
SkyView app. So I can finally learn the constellations.
What’s your favourite TV show and why?
At the moment Ray Donovan, but that can change depending on what my wife pulls up. She keeps me in tune with what is out there and there’s a lot of great stuff. I normally watch the first four episodes of anything and then, out of simple neglect, and interest in something else, I shift to the next. It would be nice one day to follow a series through to the end.
What film do you think everyone should have seen?
I don’t for a moment think my tastes should be everyone else’s taste. But… I thought one of the most complete movies in the last couple years was MOMMY. A French Canadian character-driven film that was exciting, emotional, funny, heart wrenching, and superbly-acted and shot. Basically, all the reasons I go to the cinema.
Where were you when inspiration last struck?
Lying in bed at 4:00 am this morning.
What’s the most significant change you’ve witnessed in the industry since you started working in it?
Since I started, directing and film editing was just being phased out of commercials for 3/4 U-matic machines, which we used for music videos. A lot has happened in technology, so it’s hard to label the most significant change.
Recently, the emphasis has been on digital technology, so the end result is most felt in post production, where so much is being created. There’s no limit to realising any ideas and dreams. But I’m not sure if this has had an inverse effect on storytelling, as ideas now tend to focus on the latest effects instead. In a very short time, the new digital world has taken us from a one-dimensional, projected film experience to multi-dimensional, interactive spaces.
But I think the most significant advance in actual filmmaking has been the use of drones. In two years, they have gone from risky experiments, that may or may not get off the ground, to becoming a safe, accurate, and completely steady means of getting the camera into impossible places and moving it in ways we have not seen.
If there was one thing you could change about the advertising industry, what would it be?
Lead the visual trend again, not follow the trend. There have been certain glory moments in advertising when films, music videos and artists were using ads for inspiration. Advertising can be a powerful pop art source. Clients know this, but don’t utilize the potential. Safe is the norm today – to the point that repetition and copying operates on a grand scale.
Example: Low-fi visuals which were once street five years ago, now form part of the status quo and have evolved to become the corporate visual style for everyone, whether they’re selling hamburgers or insurance. Or take the trend of copying a special effect just because it worked for someone else. This has only made a lot of recent work more repetitive.
It is rare to hear a creative pitch today that says, “We want to do something that has not been done.” That used to be said. Now if someone can’t see a previous example of the idea, it can’t be done or it musn’t be that good because it wasn’t done previously.
What or who has most influenced your career and why?
Probably when I worked at Replay, in my early twenties. Then, Replay was a progressive, but small, fashion house out of Milan. The owner and I became friends after he saw one of my Levi’s ads. For six years. he trusted me to write all the spots, shoot them, shoot the stills and even buy the airtime. Everything. I had complete creative control, but I also had a tremendous amount of fiscal responsibility. I learned all the parts that go into advertising – from conception to airtime – and the expense of running a 90-sec spot. When you are given X amount to spend on airtime, you make bolder decisions on the campaign you write.
One of the first ads I did with Replay (below) was about 90-seconds long, so I knew it had to be a 90-second idea. I created an attention-grabbing short film, which was due to air on a channel like MTV at a time when no one was doing this. The ad won many awards and helped to elevate Replay but I learned that an ad idea has to fit the length of the airtime slot. The audience will watch a 60 if the story is a 60. Equally, they will know if it’s not a true 30. Rarely has a 60 and 30 combination made sense. If the story is a true 60 then the 30 will be a horrible sacrifice. If it is not a true 60, it should just be a 30. A great combo is 60 and 15, because the 15 can be a very powerful ad for the 60.
Tell us one thing about yourself that most people won’t know…
I live in Rome.
By Meredith B. Kile
Selena Gomez debuted her music video for “Same Old Love” on Tuesday, and it’s a sophisticated and sultry look at the singer’s new musical direction.
Directed by Michael Haussman, who’s behind behind such music videos as Justin Timberlake’s “SexyBack,” Kanye West’s “Jesus Walks” and Madonna’s “Take a Bow,” the video shows a more serious side to Selena, as she travels to her concert on a rainy night, sneaking through a busy club to avoid the paparazzi, and observing the city scape and passersby as she travels.
The final on-stage number was actually filmed last week at a top-secret fan event in Los Angeles, where the 23-year-old singer surprised her fans with a preview of her new album — and the chance to appear in her video.
“The screen will rise towards the end and I’ll surprise them and finish the song,” Gomez explained in a video about the event. “That will be inserted into the actual video.”
The catchy song is Selena’s second single off her upcoming album Revival. The former Disney star opened up about naming the album — her sophomore follow-up album to 2013’s Stars Dance — on BBC Radio 1 back in August.
“I was in Mexico and I came up with the title of the album because all of these things, all of the songs that have come into my life are so fresh and so different and funky and cool and sensual,” she told host Scott Mills. “It just kind of happened that way and I can’t wait for people to hear that.”
Reclaiming Madonna’s most mature music video message
BY ARMOND WHITE WED, 2015-03-18 13:09
Beginning with a reverse striptease, Madonna’s Take a Bow enhances her usual sexual-romantic provocation. This video is all about the aftermath of a great passion. I dive into it now in response to readers’ demand after my earlier Madonna video overview. Take a Bow is the most mature of all Madonna’s videos, a major affair.
Real life torero Emilio Munoz performs as one of Madonna’s most memorable music video co-stars. (Dark-eyed, hawk-nosed Muñoz must have made quite an impression considering the bullfighting imagery repeated in Madonna’s recent Living for Love video.) Madonna pines for Muñoz’s uncommitted stud image — in person, in bed, in the corrida, and on TV. Director Michael Haussman’s cool imagery, spiked with red lipstick and blood, contrast physical remembrance (sex) with psychological delicacy (a filigreed bodice) and emotional violence (break-up, loneliness).
Take a Bow premiered in 1994, back in the days when music videos insisted that viewers notice details (such as Muñoz twirling his pink cape like a bedsheet or shifting his hip to the right, a sexual feint to tease/confuse his bovine opponent). Today, pop editing is crude, fast, incoherent. Media-makers tailor their work to ADHD dysfunction but Madonna still believed in coherence and (unlike Lady Gaga) symbolic meanings that can be interpreted.
Superior to Alan Parker’s film of Evita (1996) which was largely scuttled by Madonna’s total miscasting, Take a Bow shows Madonna in an ideal creative partnership. She’s aided by Babyface’s lovely melody, written within her vocal range so that her pleading has never been as affecting; it suits the high-tech, soft-core visual montage. Haussman uses Madonna’s typical porno teasing but adds a melancholic undercurrent. A viewer can easily believe that Haussman and Babyface, imagist and songwriter, collaborated from the start.
The video’s Spanish details fulfill Madonna’s fascination with Latin culture (the Evita movie was truly fake). She graduates from street pick-ups (Borderline) and ersatz cultural imitation (La Isla Bonita) to indulging Continental tradition. The video’s concept was timely; derived from Pedro Almodóvar’s bullfighting melodrama, Matador (1988) which had recently burst upon global pop culture. It also referenced the great Anna Magnani’s characterization as Camilla, the love object in Jean Renoir’s The Golden Coach (1952), who winces when an arrogant lover slays a bull in tribute to her. Madonna doesn’t impersonate Magnani’s commedia dell arte characterization so much as assume a modern version of the timeless, symbolic wounded: the love-wounded (depicted in shots of a fashion pin pricking her finger and blood droplets falling into a Catholic holy water fount). Take a Bow not only illustrates Madonna’s art consciousness (her appreciation of pop history from Renoir to Almodóvar), it advances those totems of classical pop art to postmodern complexity.
Thrashing languidly in her lonely bed, Madonna sinks under, and out-of, bedcovers. She eventually masturbates to TV images of her proud aloof lover slaying a beast as dispassionately as he used-then-discarded her carnal submission. (“How was I to know you’d break my heart?”) All the images of penetration, climax, sorrow, and abandon come together in Haussman’s imagistic flow, evoking menses and a woman’s heartache.
Take a Bow’s visual and musical effects are so delicate yet so piercing, they linger like a fragrance—way before Madonna initiated a perfume brand in 2012 (a scent desperately titled Truth or Dare). But the sentimental pull and memorable beauty of Take a Bow combine intimate confession with an artist’s challenge to her audience. Telling her fans to honestly bear their romantic pain is a lesson in gay solidarity.