Laurent Boutonnat is in my eyes a sheer genius: the man who’s vision and inspiring music have been defining my esthetic tastes for the past 30 + years. He stands out in the world of mass productions and money-making music industry bringing it to the highest possible standards. He is a Mylene’s musical “L’autre”, her soulmate in songwriting… I would like to wish him, and I hope you all join me, a very happy birthday, health, inspiration, and imagination to create more memorable songs and videos. Here is to you, dear sir, with LOVE!… ❤
Boutonnat is most known for directing long, big-budget, literature-inspired music videos that took more the shape of short films. His style was widely recognized, especially thanks to the videos “Libertine” and “Pourvu qu’elles soient douces” in which the action takes place during the eighteenth century. Other videos like those of “Ainsi soit je…“ were appreciated for their simplicity and their visual language. Whether they were big productions or simple projects, all of Boutonnat’s videos that he created during that time contained many references to literature and art, like Farmer in her lyrics. Boutonnat is sometimes considered to have revolutionized French music videos, including art and cinematic imagery in them and therefore not limiting them to simple commercial tools.
Laurent Boutonnat, of his complete civil status Laurent Pierre Marie Boutonnat, was born on June 14, 1961 in Paris.
His father, Pierre-Louis Boutonnat, born February 4, 1935, had a career as a business manager, then director of the Red Cross and WWF. He received the Legion of Honor.
Pierre-Louis Boutonnat married Marielle BRUNHES on June 16, 1960 who would become Laurent Boutonnat’s mother. President of the association Europe-Passion, former adviser of the Ministry of Social Affairs for “education in the program of life”, former secretary general of the Higher Council of sexual information, birth control and education.
She has published several articles, including “Adolescence, body and sexuality” in the magazine Humœurs, gens et coutumes in July 1994 (assessment of the years 1994-1996, built around the fight for the PACS ), or in the quarterly Chrétiens & Sida in October 1992: “Et tendresse bordel! “She has passed away in November last year. More about her HERE
Laurent Boutonnat has a brother, Dominique (film producer) and three sisters: Caroline, Bénédicte and Stéphanie (journalist at France Inter then BFMTV).
Laurent Boutonnat grew up surrounded by his family in the 13th arrondissement of Paris. He received religious education from the Jesuits. Very early on, he developed a passion for music (he played the piano at the age of five) and cinema (he made short films at a very young age, including a strange adaptation of Bambi in 1971).
He stops studying at the age of fifteen and looks for work, he writes, he abandons music and is more and more interested in cinema.
At the age of seventeen, he directed his first film, the medium-length film, Ballade de la Féconductrice, (I found it on
YouTube: https://www.youtube.com/watch?v=2pTMjfj8kQw) which will be shown in Paris for two weeks in 1980 in a theater.
He worked as a cameraman alongside reporter Jean-François Chauvel then devoted himself to the production of television commercials.
The fate came knocking one day…
Laurent Boutonnat writes with a friend, Jérôme Dahan, the lyrics of the song Maman a tort (Mom is wrong). A casting is organized in order to find the performer. About fifty suitors and one elected: a certain Mylène Gautier whom Laurent Boutonnat had met before. The choice is made without Mylène even needing to sing, Laurent Boutonnat being immediately fascinated by his “psychotic” side.
Maman a tort was released in March 1984 and without becoming a hit, it met with great success during the summer. It is also the first clip produced by Laurent Boutonnat with a budget of barely a few thousand euros.
Laurent Boutonnat writes and composes with Jérôme Dahan two other songs, On est tous des imbéciles and The Annunciation. The 45 Tours On est tous des imbéciles released in 1985 is somewhat a commercial failure. Although I personally adore her performance in it. She was such a deer with big eyes…ahhh
The collaboration with Jérôme Dahan stops (it seems that the two friends did not have the same views regarding building Mylène’s career). Change of record company: Mylène leaves RCA and signs with Polydor directed by Alain Lévy for three albums. Such accomplishment didn’t come by chance but rather by bold perseverance on Boutonnat’s part. They have convinced Polydor they are worth the contract.
Mylène Farmer’s first album, Cendres de lune was released in 1986. Laurent Boutonnat composed the music and wrote almost all of the lyrics. The 45 rpm Plus Grandir preceding the release of the album did not meet with great success but it allowed Laurent Boutonnat to make his first ‘big’ clip ‘(made in 35 mm like a small film with credits, soundtrack and cinema preview).
But It was the single and a video Libertine that really launched Mylène’s career in 1986.
During the summer of 1987, Laurent Boutonnat began to work on the music for Mylène’s next album and in particular the single Sans contrefaçon which was released in October. At the same time, he is working with Gilles Laurent on the screenplay for his next film, Giorgino.
The album Ainsi soit je.. is in the bins in March 1988. Laurent Boutonnat composed all the music (with the exception of the cover of Déshabillez-moi) but the lyrics are now all written by Mylène. Laurent Boutonnat abandons for good writing for Mylène’s songs. She is doing a fine job with that 😊
In 1989, Laurent Boutonnat staged Mylène’s first concerts on the Tour 89 . He directed the clip for the unpublished À quoi je sers then the film of the tour In Concert which was released in 1990.
In 1991, Mylène’s third album, L’Autre … was released, for which Laurent Boutonnat composed all the music. He again directed the clips for all the singles, Désenchantée, Regrets, Je t’aime mélancolie and Beyond my control this one being the last one carried out for Mylène until 2001. The album is a triumph and is sold more than 1.8 million copies in France.
Laurent Boutonnat created several production companies: In 1987 he created the company Tutankhamun SA through which he produced many records for Mylène. This company ceased its activity in 1997.
On January 19, 1989, he created the company Heathcliff SA (named after the hero of the Heights of Hurlevent), a film production company for the cinema with which he produced the Tour 89 and the Giorgino films and Jacquou le Croquant.
On October 26, 1989, he founded with Mylène Farmer the sound recording and music publishing company Requiem Publishing which will publish a very large part of the songs of Mylène or Alizée.
On June 19, 1997, he created the production company Calliphora SA to produce Nathalie Cardone’s album.
In 1993, Laurent Boutonnat directed his second film, Giorgino with Mylène in the female title role. After five months of filming, a long and meticulous editing work begins. The film was released on screens on October 05, 1994.
Assassinated by the critics, it was a shattering commercial failure. Laurent Boutonnat took this first failure very badly. He isolates himself for long months and will buy back the rights to the film blocking any broadcast on television (after a few encrypted passages on Canal +) and any video release (until December 2007, when the film was released on DVD). Mylene fled to Los Angeles with Jeff Dahlgren (who was a male lead in Giorgino) to lick the wounds of embarrassment and a heal a discord with Laurent.
During the spring of 1995, Laurent Boutonnat joined Mylène in California for the recording of the album Anamorphosée which came out on October 17, 1995. He did not direct any of the clips for the singles extracted but worked on Mylène’s new tour, the 1996 Tour, of which he will also make the film for a video release in 1997 with the Live à Bercy.
In 1997, he became the producer and composer of Nathalie Cardone, who met great success with his cover of Hasta Siempre . He participated in his first album, composed four songs and produced the clips for the singles Hasta Siempre,
In 1999, release of Mylène Farmer’s fifth album, Innamoramento, for which Laurent Boutonnat composed the music (for the first time Mylène composed the music for certain songs on her own – Optimistique-moi and a few more).
He will be completely absent from Mylène’s new tour, the Mylenium Tour in 1999/2000.
In 2000, he co-produced with Mylène Farmer the young singer Alizée and composed for her the music of Moi… Lolita,
for which he directed the clip. The song is a worldwide success (over 2 million sales). Then follows an album, Gourmandises,
for which Laurent Boutonnat composes all the music and Mylène writes all the texts). Again a very big success.
Finally, he takes over the camera for Mylène by making the clips Les mots in 2001 and Pardonne-moi in 2002. In 2003, Alizée’s second album, Mes currents électrique, for which Laurent Boutonnat composed the music, was released. The same year, he staged the young singer’s first show. He also directed the video clips Parler tout bas
and J’ai pas vingt ans!
for her. At the end of 2004, he produced the album of the artist Kamale Kacet for which he directed the clip Ifkis.
He also composed all the music of sixth album of Mylène (he co-wrote with Mylène a) Avant l’ombre … released on April 04, 2005. We find Laurent Boutonnat on December 16, 2004 alongside Mylène for the press conference announcing this album but also the thirteen concerts in Bercy in January 2006, Avant l’ombre … in Bercy which he will be staging with Mylène.
In 2006, Laurent Boutonnat directed his third film, Jacquou le Croquant, which hit the screens on January 17, 2007. A warmer welcome than that reserved for Giorgino and nearly a million tickets sold at the French box office. He composed the soundtrack of the film and in particular the song of the end credits of the film, Devant soi, performed by Mylène.
In 2008, Laurent Boutonnat composed all the music for Mylène Point de Suture’s album which will be released on August 25th. He participates in the artistic direction of the Mylène Farmer Tour 2009.
For the first time in 2010, Mylène released an album, Bleu Noir, in which Laurent Boutonnat did not participate.
During the summer of 2012, for the first time, Laurent Boutonnat reveals a little of his private life in a report devoted to his partner Ilona Orel for the Russian magazine Tatler (more info).
On December 3, 2012, Mylène’s ninth studio album, Monkey Me, was released for which Laurent Boutonnat composed the music for the twelve songs. He also directed the video for the first single extracted, A l’ombre. He is co-responsible with Mylène for the design and artistic direction of the 2013 Timeless tour.
In 2015, he was again absent from Mylène’s tenth studio album, Interstellaires primarily very involved with the birth of his daughter Angelina (born in 2013).
On October 19, 2017, photos show him alongside Mylène (and Thierry Suc) attending the Rolling Stones concert at the U Arena in La Défense.
On May 19 and 20, 2018, he directed in Iceland the clip for the single N’oublie pas (in duet with LP). This is the first time that he has directed the clip of a song for Mylène for which he did not compose the music.
The latest project they worked together for is the Julia project and her song S.E.X.T.O
LAURENT BOUTONNAT TALKS ABOUT MYLÈNE FARMER
“We were looking for someone when we did this song with a friend, who was Mum in Tort, which was a bit special song that was set in a mental hospital, about a little girl … And the day where Mylène arrived, she was… she was perfect, what! She was the character! (…) It was not so perverse, it’s more… psychotic, I would say. … It was her right away, what. Even before hearing her sing. ( A2 Midi – Antenne 2 – 01/09/1986 )
“Mylène is, let’s say, very malleable. So, working with her is a real pleasure. I like actors who are not talking all the time. Not the ‘yes, but …’ style. . But it’s true that it’s not easy to work with people you know. You don’t give gifts.” (Premiere – October 1994)
“Mylène has this romantic universe in her, and I have it in me. There is no coincidence. It would be too complicated to work together if we had opposite desires. But I wonder if, from the moment we spend so much time with someone, we don’t end up, even if we are very different at the start, by coming together. ” (Studio Magazine – October 1994).
“With Mylène, I used to say that we were born together. Today, she has become like a sister to me, both artistically and emotionally. And then, we sometimes have each our projects. ” (Télé Star – January 2007)
MYLÈNE FARMER TALKS ABOUT LAURENT BOUTONNAT
“With Laurent Boutonnat and Jérôme Dahan (his producers, composers, friends …), we want to try to create something, a style. The Mylène Farmer style!” (Hello – 11/07/1984) Laurent Boutonnat Mylène Farmer Jérôme Dahan in 1984
“The team comes down to three people: Jérôme Dahan, Laurent Boutonnat and me. Jérôme has been in music since his childhood, Laurent is more oriented towards the cinema. It’s interesting, because, it’s a bit like that. that I would like to reflect. A song side is obvious since I sing, and a cinema side obtained by the visual (my way of moving, of interpreting, etc …). Jérôme and Laurent wrote Maman a wrong together Regarding the new 45 rpm: On est tous des imbeciles is the work of Jérôme Dahan and the B side, the Annunciation that of Laurent Boutonnat. ” ( uméros 1 – May 1985)
“In my entourage, two people count: Laurent Boutonnat, my producer, and Bertrand Lepage. I really care about this teamwork.”Numéros 1 – November 1985 )
“With Boutonnat, we form a team of character. So we argue violently and we always come to an agreement. Which, in short, is the essential.” ( France Soir – 08/20/1986 )
“I work permanently with him, and, for better or for worse!” ( Top 50 – Canal + – 06/09/1986 ) Laurent Boutonnat and Mylène Farmer in 1986 (Filming of the clip Libertine ) “He has talent, he exploits it for my ends and his. I have no claims in music.” ( Top 50 – 09/22/1986 )
“All I can say is that we, Laurent Boutonnat and I, have a lot in common.” (Rock News – January 1987)
“Laurent Boutonnat, with whom I work on just about everything: the music video, the music, the songs … Between us, it’s the perfect match!” (Photo – February 1987)
“Laurent Boutonnat composes the music and, from that, we work on the text, I bring ideas, or entire texts as is the case for certain songs. It is above all a collaborative effort between two people who know each other well, who have the same tastes. Tristana is a text which perhaps came at a great moment of despair. “
“Laurent Boutonnat writes the music. I stay with him. And, with my head in the shade, I write texts.” (France Soir – 11/13/1987)
“His passion lies behind the camera. His dream would be to edit a feature film as a director and then to continue to compose music.” (Graffiti – December 1987)
“In terms of the video script, it’s a joint job. For the rest, it’s Laurent Boutonat who takes care of the production on his own.” (Top 50 – 01/18/1988)
“For four years, he has been the companion of many things. They are two halves which have become one (I am speaking for him),Graffiti – May 1988 )
“I was making a living taking fashion photos, dreaming of filming, when I met Laurent Boutonnat. As we both have a very bad temper, we got on well.” ( Nous Deux – 06/07/1988 ) Laurent Boutonnat and Mylène Farmer in 1988 (filming of the clip Pourvu they’re sweet) there is a real sharing in any case for all of these songs. But he is the cinema department, he is all alone, and I, the writing department, I am alone, even if we confer from time to time. “(NRJ – 04/05/1991)
“Meeting with Laurent Boutonnat is fundamental in my life.” (NRJ – 04/05/1991)
“I am very, very faithful. If there is one thing that I do not have, but really do not want to touch, it is this cooperation. Laurent and me, we both know perfectly the way we operate. We have lived differently, but together, the different stages of our journey. Creation is a passionate process, in which there can be crises. These are then fruitful crises, those that make progress.”
“It’s true that I had this desire a long, long time ago, to do either cinema, or theater and that I had this meeting with Laurent Boutonnat, and that we were both born of a song, always with this desire that to be able to make a film, he direct it and I interpret it. During these ten years, it is true that we thought of this film, of a film, and, here it is, we did it.” (NRJ – 10/16/1995)
“Obviously Laurent is present in my life, in my everyday life. His presence is very important to me.” (Télé 7 jours – 10/30/1995)
“His romantic physique, his very pale blue eyes. His secret side. He speaks little, like me” “Pygmalion? A creation of the media” (Liberation – 07/11/1995)
“Giorgiono’s failure was painful for Laurent.” (Vogue Germany – March 1996 ) Mylène Farmer and Laurent Boutonnat in 1994 (preview of the film Giorgino)
“He spoke little, like me. Like me, he had taken acting lessons. He had composed a song, Mum is wrong. I corresponded to the image he had of a singer … It ‘s . is how the machine is turned on I always liked exist through the eyes of others … He dreamed of cinema, to death and to make a film Giorgino . (Angelines – Autumn 1996)
“He composes, I write, it’s a real artistic collaboration. All I can tell you is that I never did something I didn’t feel like doing.” (Elle – 04/05/1999)
“Laurent is very important in my life. We are both lovers of cinema, sensitive to everything that constitutes a good film, from the script to the quality of the images. In the context of the song, for the production of our clips, we always think in terms of cinema, of emotion.” (Vogue – September 1999)
“The last ten minutes (before entering the stage, editor’s note) are a moment of meditation, I was going to say it’s more concentration and then, to betray our little secrets a little, Laurent spends five minutes before entering the stage, shakes my hand and says to me: “Make the wind.” Nobody understands but “make the wind” that means “breathe”, it is a way of breathing, of try to de-stress a bit.
“I have in no way moved away from him. After the tour and the concerts at the Stade de France, there is a frightening descent into hell despite the success, a sidereal void, a lack. You receive so much love, vibrations, so many sensations that make you want … to write. Laurent has fully understood my need to create. This is also the bond. We will meet again for the next album. ” (Paris Match – 12/02/2010
“A mentor is a guide whose approach is personal, voluntary and free. The relationship I have with Laurent is a relationship of complicity and complementarity. He is a person of greatness. talent which is inseparable from my life path.”
“He’s a twin brother. He’s someone I’ll see, who I’ll work with until I die, I guess. And, he’s a great, great talent. And, I? admits that when I still worked on this album with him, as soon as he puts three chords, he still has this ability to move me and make me cry on three chords. So, it’s something magical for me, of course. ” (News from 8 p.m. – TF1 – 12/02/2012)
For his cinematographic work, Boutonnat deserves a few dedicated paragraphs, don’t you think?
Throughout his Mylene’s years, he seems to be torn between two opposite poles of cinema (the pole of entertainment and that of experimental cinema) chooses two axes of approach for his clips. We can easily see that the two conceptions of the video clip by this director differ according to the duration of each of his productions. Of the twenty-five clips that Laurent Boutonnat shot, six of them last more than seven minutes, include additional music, are framed by a beginning and then an end credits, and sometimes contain dialogues. The majority of the other clips run roughly around the length of the song they illustrate and explore imagery rather than actual narrative.
The usual duration of a video clip oscillates between three and five minutes. Laurent Boutonnat, in his six longest clips, achieves results of between eight and eighteen minutes. These exceptionally long timings for clips intended for repeated television appearances will paradoxically be the main tool of the will to see by the greatest number. Relying on word of mouth, these clips (themselves promotional items) will themselves be promoted. And it is precisely this popularization of the clip that will bring the music it illustrates to everyone’s ears, with the prospect of not only the sale of the phonographic medium, but also of the video medium, the majority of Laurent Boutonnat’s clips having been commercially available. It is in part thanks to their relatively long duration and to their support (35 mm film in 1.85 or 2.35 image format) that four of these films were able to benefit from an exploitation in cinemas before and simultaneously with their diffusion.
Inviting the cinematographic and musical press for the first screenings, failing to specify to the public that the film screened was a short film (large posters in support) a clip like Libertine owes its success to the exhibition at the Publicis cinema on the Champs-Élysées in Paris (June 1986) from which it benefited for two days: an event for a clip which had a major impact on the sales of 45s at the time, the French television having widely rebroadcast the clip following the craze of the projections. With durations which can be sold a priori in television, the director nevertheless takes the risk of being ignored, the career of his clips could not do without multicasting specific to television media. We cannot be present in all markets if we have nothing to sell, which is why the methods of gradually introducing the clip to the public cannot be justified without the scope of the intrinsic originality of the content.
The traditional video clip lies above all in the status of the interpreter, who becomes the hero of a story, and around whom the secondary characters revolve. Often, the performer of the illustrated song is herself a secondary character, and her highlight is due to the mystery surrounding her late arrival and her short presence on screen.
Sans Contrefason for instance plays on this absence, where the interpreter of the song only makes an appearance of two minutes in the middle of this film which has eight.This arrival of the character, expected since the beginning of the film, is staged by the transformation (not shown) of this Pinocchio into a half-man, half-woman creature. Creature that will mysteriously disappear two minutes later. The double frustration then provoked in the spectator is due to the late arrival of the long-awaited singer and the brevity of her presence on the screen. We find this same pattern in other Boutonnat clips such as Tristana (1987) where the performer in question dies in the exact middle of the story. The central character is then not the one we see most often on the screen, but the one around whom the story revolves and who happens to be the object coveted by the main character, holder of the part of mystery of diegesis.
For more Interviews click here: https://www.mylene.net/mylene/laurent-boutonnat-interviews.php
In the conclusion, let’s talk a bit about Laurent’s private life. He is like Mylene usually very discreet but if you are dedicated like me to find information, you will eventually get lucky. Ilona Orel is Laurent’s partner (at least according to the latest info) and co-parent. She was born on August 27 1970 (another Virgo!) in the former USSR (just like me)
After working in fashion, Ilona Orel started full-time in contemporary art and in 2001 opened Orel Art, a 250m² gallery near the Center Pompidou, where creation then appeared through all the genres and in all forms: fashion, design, new technologies and contemporary art. First turned towards Russian artists and artists from the former Soviet republics, such as Dubossarsky & Vinogradov, Marina Fedorova, or Petr Axenoff, the Orel Art gallery has broadened its artistic choices and also represents international artists such as László Fehér, Yuri Shabelnikov, Stephen J. Shanabrook, Olga Tobreluts, Sergei Serp or Rupert Shrive.
She was the companion of businessman Bernard Lozé, at least until 2003 when the magazine “L’officiel de la mode” (n ° 879) still evokes their relationship in one of the articles. Ilona is Laurent Boutonnat’s companion and they are now parents of a daughter, Angelina, born in the fall of 2013.
In 2010, under the pseudonym of Mona Kalina, she released a few tracks composed by Laurent: “Da Da Da “,” Addictive Game “,” Big Dick “,” How to Party Master “and” Remember “. The clips by Laurent Boutonnat. IN my humble opinion those are hardly the masterpieces, but they got some attention in Russia.
I hope he and Ilona are happy together and their family is giving him that security and peace that the genius needs in order to create. I found in the article published in Russian magazine that they live in a small chateau outside of Paris with the own small farm in the back including small farm animals, donkey, chickens and growing their own fruits and vegetables. Sounds like a lovely home life to me. I am wishing them all the best 😊
In the very conclusion I have to chare with you one interesting “coincidence” with this chapter. I wanted to honor Laurent with his own chapter in Mylene’s book of life. With all the fairness he deserves a good half of it, but staying focused on the purpose of this website I hope Laurent would understand. The project, as you know, contains 155 chapters – one per song. I freed a bit of space b/c a few songs had an English equivalent like Que mon cœur lâche for instance – My soul is slashed – didn’t really need its own chapter.
So I have decided to publish Laurent’s story on his birthday June the 14. Guess what? When I counted what number of the chapter it will become, I was a bit stunned as it happened to be exactly chapter # 78 – the Everest of the project, the mid-way and it’s highest point – wow! I think something above is overseeing this mission, don’t you think?
Happy 60s birthday, Laurent! My biggest wish in life is to meet you and Mylene in person. I have so much to ask you and so my to express! Love you both to the moon and back 😊❤
Here is full list of Boutonnat’s work:
Ballade de la Féconductrice (1978)
Jacquou le Croquant (2007)
Mylène Farmer – En concert (1990)
Mylène Farmer – Live à Bercy (1997)
Music videos: (click on the title to open the page for the song)
Mylène Farmer – Maman a tort (1984)
Mylène Farmer – Plus grandir (1985)
Mylène Farmer – Libertine (1986)
Mylène Farmer – Tristana (1987)
Mylène Farmer – Sans Contrefaçon (1987
Mylène Farmer – Ainsi soit je… (1988)
Mylène Farmer – Pourvu qu’elles soient douces (1988)
Mylène Farmer – Sans Logique (1988)
Mylène Farmer – A quoi je sers… (1989)
Mylène Farmer – Allan (Live) (1989)
Mylène Farmer – Plus Grandir (Live) (1990)
Mylène Farmer – Désenchantée (1991)
Mylène Farmer – Regrets (Mylène Farmer and Jean-Louis Murat song) (1991)
Mylène Farmer – Je t’aime mélancolie (1991)
Mylène Farmer – Beyond My Control (1992)
Mylène Farmer – Les Mots (2001)
Mylène Farmer – Pardonne-moi (Mylène Farmer song) (2002)
Mylène Farmer – Du temps (2011)
Mylène Farmer – A l’ombre (2012)
Mylène Farmer – N’oublie Pas (2018)
Nathalie Cardone – Hasta Siempre (1997)
Nathalie Cardone – Populaire (1998)
Nathalie Cardone – …Mon Ange (1999)
Nathalie Cardone – Baila Si (2000)
Alizée – Moi… Lolita (2000)
Alizée – Parler tout bas (2001)
Alizée – L’Alizé (2001)
Alizée – Gourmandises (2001)
Alizée – A contre-courant (2003)
Alizée – J’en ai marre! (2003)
Alizée – J’ai pas vingt ans (2003)
Kamal Kacet – Ifkis (2004)
Mylène Farmer – Cendres de Lune (1986)
Mylène Farmer – Ainsi soit je… (1989)
Mylène Farmer – L’Autre_(Mylène_Farmer_album) (1991)
Mylène Farmer – Dance Remixes (1992)
Mylène Farmer – Anamorphosée (1995)
Nathalie Cardone – Album éponyme (1999)
Mylène Farmer – Innamoramento (1999)
Mylène Farmer – Les Mots (2001)
Mylène Farmer – Avant que l’ombre… (2005)
Mylène Farmer – Point de Suture (2008)
Mylène Farmer – Monkey Me (2012)
Alizée – Gourmandises (2000)
Alizée – Mes courants électriques… (2003)
Julia – Passe… comme tu sais (2020)
Le Pèlerin (1995)
Jacquou le Croquant (2006)