2023-10-18 07:17:49
Thierry Vernies…a lens before which the greats of Arabic music stood
French director Thierry Vernis entered the Arab world out of love and video advertisements. In conjunction with the completion of the first advertisement in Lebanon in 2001, he met who would become his wife and the mother of his children. It was only a few months ago that his name shone in the world of Arabic video songs. Vernies was one of the first foreign directors to collaborate with artists from the Arab world in video clip works.
From Ragheb Alama, to Elissa, passing through Kazem Al-Saher and Zeina Imad, and not ending with Carole Samaha, who had the largest share of the Vernis camera. In an interview with Asharq Al-Awsat, he said that he broke the record with Samaha, collaborating with her in 16 video clips that he directed. His most recent work was filming the song “Zeina My Days” by Nawal Al-Kuwaiti in the south of France. The clip, which was released a few weeks ago, was a surprise to Nawal’s fans, as they were not accustomed to her appearing with such pride, dancing, joy, and movement.
Human closeness first
The first meeting between the French director and the Kuwaiti star took place 3 years ago. He goes back to the day they filmed an advertisement for a perfume: “Her kindness and humanity attracted me.” She opened her heart easily and gave me her trust in working together. What matters most to me in my relationship with artists is this human closeness, so that we can tell a story through their clips.”
Three years passed when the artist Vernies approached her regarding her desire to film one of her songs under his direction. She wanted an image different from what she had previously presented, an image that people would not expect from her, so she had whatever she wanted.
Behind the scenes of the montage of the video clip “Zeina Ayyami” by Nawal Al-Kuwaiti (director’s photos)
Vernies does not deny that the Arab world is full of excellent directing talents, but he explains Arab artists’ use of foreign directors by saying: “If Arab artists come to me, it is because they love my image. They are looking for a difference, a different approach and point of view. Just as Western artists do when they turn to Arab directors.”
Breaking down boundaries
Despite being French and not mastering the Arabic language, Vernies does not find it difficult to embody the meanings of Arabic songs through his image. He lets the music lead him to the meaning, but in practice he requests a translation of the words into French or English. He does not let geographical or linguistic barriers get in his way, as he believes in the universality of human feelings, and that “human nature, no matter how different cultures are, is the same.” “We are all human beings and our feelings and emotions are similar,” Vernies explains.
Vernis entered the Arab world in 2001 and has since collaborated with major artists (director’s photos)
This conviction in Vernis is also reflected in his photographic works, as he is accustomed to choosing distant and new destinations for photography. Perhaps the clip “We Return to You” by Carole Samaha, which was the first of their cooperation in 2009, is the greatest evidence of this. The team then traveled to the Maldives, where Samaha appeared in a renewed context. Vernies comments: “I like to break down geographical boundaries, so I often go to distant places to photograph and discover new worlds through my lens.” The veteran director, who has more than 500 video clips under his belt, continues: “The greatest joy in directing is penetrating multiple cultures and getting to know different personalities.”
Carol…from artist to friend
Among those artistic figures with whom Vernies collaborated, Carole Samaha was the one who captivated and influenced him the most. He talks regarding her kindness and sense of humor, and confirms that the relationship between them has become closer to friendship than to work. He says: “When we film together, we don’t feel like we are working, but rather having fun. Her theatrical background and acting abilities make the scenes a lot easier. She also does not object to the artistic madness that can occur in photography.
There is a family friendship between Carole Samaha and Thierry Vernies and more than 15 video clips (Instagram)
Hardly a year goes by without Vernies signing a video work by the Lebanese artist: “I’m Not Afraid,” “I Say I’ll Forget You,” “Stay Alone,” “I Got Used,” and many other songs. The director specifically stops at the video clip “Wahshani Biladi” (2015), which he loved working on, according to what he narrates, and delved into the world of that song that carries a message and an issue. As for the song “The Great East,” he says: “I think we broke all the rules in this clip, and there is no doubt that it is the most prominent thing I have ever filmed for Carol.”
Vernies emphasizes that he does not impose his opinion or vision at all on the artists; “When they come to cooperate with me, they come loaded with a desire for change. But if they prefer to remain within the classical framework, I do not object or mind.” But no matter how diverse the styles are, he insists on the Eastern imprint that his lens reflects, and on the values specific to Arab civilization.
5 works with Celine Dion
Internationally, Vernies has collaborated with big names in the world of music such as Celine Dion, Lara Fabian, Florent Bagnier, Patrick Fiore, Kelly Rowland, and many others. Despite this wide and diverse spectrum of identities, he does not notice any difference between the artists of the West and the Arab world on the human level. He explains: “Only the tone and the story of the song differ. Human relationships are the same, and everyone aspires to the same dreams. Their common desire is to reflect a beautiful image through their work… be it Celine Dion, Lara Fabian, Nawal Al-Kuwaiti, or Carole Samaha.”
Verniece with Canadian singer Lara Fabian (director’s photo)
There is no doubt that collaborating with Celine Dion is one of the most important milestones in Vernis’ career. He photographed 5 works for her, including: Parler à mon père and S’il n’en restait qu’une. He describes her as a great lady. However, “these global experiences do not mean that other experiences in the Arab world are less important and valuable,” this is what the French director confirms.
Vernies collaborated with hundreds of artists of varying popularity and fame, “but in all of these experiences I gave my best, regardless of the artist’s name,” says the director.
After more than 30 years in the field, he still aspires for more, and among the Arab artists who he hopes will stand in front of his lens, he mentions Amr Diab and Saber El Rebai.
Currently, in conjunction with the preparation of a new project with Kazem El Saher, Vernies is devoting a large portion of his time to preparing two French series that are supposed to see the light soon.
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