How This DS Commercial Paid Homage to ‘The Little Prince’

Martin> From my perspective it feels like an interesting paradox. With the flood of content from various channels, you’d think brands would push for more creative and standout presentations to capture attention in order to stand out from the noise. But interestingly, there’s been a noticeable shift towards hard sell tactics and focusing heavily on product features, to get the message across which everyone seems to be doing.

Working on this film was refreshing because it breaks away from that. It strives to connect the brand’s ethos with an emotional charge, creating a meaningful and engaging experience which is hopefully more memorable as a result. I loved the opportunity to work on a project that goes beyond the usual product-centric narrative, aiming to forge a deeper connection with the audience. This approach feels more authentic and impactful to me, and I’m proud to have been part of it.

Martin> I have a deep love for ‘The Little Prince’, and wanted to honour its poetic essence without falling into the trap of cheesy kitsch. My goal was to achieve the right balance in the film's look and feel, capturing its poetry in an honest way.

With significant support from the agency, especially in the casting process, and the exceptional talent of DP Joost Van Gelder, I felt the responsibility to deliver a film, which will strive to move away from pastiche and the expected.I feel like I can read the book again now without any sense of shame or regret.

Martin> Striking the right balance between staying true to the brand and honouring the classic was indeed a challenge, but one I enjoyed. Together with Joost, we decided to combine day-for-night shots with actual night shots. By using miniature models and avoiding CGI, along with organic film processing in post-production, we aimed to achieve a unique sense of dreamlike heightened reality. This approach allowed us to blend the poetic essence of ‘The Little Prince’ with a modern aesthetic, while paying homage to the elegance of the DS brand.

Martin> The casting process for this film was one of the most interesting and surprisingly fortunate experiences I've had in commercial filmmaking. We knew that the wrong cast would undermine the entire project, regardless of the visual execution.

I had the privilege of working with the amazing casting director Julia Todorov, who has an extensive global network. We reviewed nearly 800 candidates for the role of the grown-up ‘Little Prince’, but none quite had the unique quality we were seeking. Just when it seemed like the well had run dry I remembered an actor from my home country, the Czech Republic, who I believed had the perfect balance we needed. Despite never having met him before, we reached out and convinced him to come over for some test shots. Thankfully, the agency agreed with the choice.

For the role of the pilot, I envisioned a fatherly figure to the Little Prince and we were incredibly fortunate to cast Cyril Dobrý's (our Little Prince) real father, the esteemed actor Karel Dobrý. Karel was available, willing to work with his son, and well-liked by the agency. This real-life father-son dynamic added an authentic emotional depth to the film, infusing the project with the authenticity we were looking for. It also allowed the real father to spend some quality time with his real son – in the Sahara desert – which is something they rarely have had the time to do in real life. The final shot and pilot’s line “It’s been a while,” all of a sudden had real-life context and meaning which meant it was delivered with an honesty and authenticity that is hard to replicate, and I believe is quite special. 

Martin> On one of my first calls with Joost the DP he suggested we give it a hint of the

‘Leni Riefenstahl aesthetic’. That was music to my ears. From that point, it was all about figuring out what that looked like, how it served the narrative rather than detracting from it and ensuring the film visually struck the right balance.

We chose to use a large format with old Zeiss Super Speed lenses, which have a beautiful way of breaking up highlights and adding a romanticism, a softness and something that moves things away from the more exacting digital imagery.

Martin> During the Morocco leg of the shoot, we definitely had some ‘Babylon moments’ that I'll always remember. Coordinating a French agency, an Italian production team, and a Moroccan service production created a unique blend of cultures and languages that I think in the end complement one another well.

Reconnecting with Joost and 1st AD John Lowe, was a pure joy and as always they embraced the challenge. The agency and production allowed me to work with one of the best model makers in Europe from Prague, someone I have collaborated with many times and have a long standing relationship with. Designing the unique look of the pilot’s biplane, digging into the authentic graphic markings of Exupery’s original biplane, was the kind of thing I thrive on and was like a dream come true for me.