The French agency helping Saudi Arabia realize AlUla’s potential

The French agency helping Saudi Arabia realize AlUla’s potential
AlUla will become the world’s ‘largest living museum’ under Saudi Arabia’s Vision 2030 plans.
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Updated 21 February 2020

The French agency helping Saudi Arabia realize AlUla’s potential

The French agency helping Saudi Arabia realize AlUla’s potential
  • Afalula is contributing to the development of site that forms a vital part of Vision 2030 plan
  • Kingdom seeks to turn AlUla into the world’s largest living museum and a major heritage tourism destination

PARIS: Gerard Mestrallet is executive chairman of the French Agency for the Development of AlUla (Afalula), the Saudi heritage site that is fast becoming an international cultural and tourist attraction.

AlUla, in the Kingdom’s northwest, is known for its natural beauty and archaeological diversity.

It has hosted major cultural events, including a site-responsive outdoor art installation featuring the work of Saudi and international artists, and a music festival with world-famous stars.

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French gastronomy has been an important part of the Winter at Tantora Festival, which will continue in AlUla until March 7.

Earlier in February, it announced that the Kingdom is planning to develop AlUla into the world’s largest living museum and a major cultural, arts, adventure tourism and heritage destination.

Mestrallet spoke to Arab News from Afalula’s Paris office, where pictures and videos of AlUla welcome visitors, and perfumes produced in AlUla with the expertise of Grasse, the southern French city renowned for fragrance, tickle the senses.

He talked about how the agency and France will contribute to the development of a site that forms a vital part of Crown Prince Mohammed bin Salman’s Vision 2030 reform plan.

“French President Emmanuel Macron appointed me to head the agency for the development of AlUla because I’d previously managed Engie and Suez, which contributed to important world projects and had invested massively in water treatment, desalination of seawater, and electricity production in Gulf countries,” Mestrallet told Arab News.




Afalula’s Paris office, right.  (AN photo by Huda Bashatah)

“When Macron met the crown prince, the prince asked him for French support for the development of AlUla, and the president entrusted me to negotiate the development and to create a French agency for AlUla on the model of the French agency for the (Louvre) museum that was created in Abu Dhabi,” he said.

“We negotiated with the Royal Commission for AlUla (RCU) before the Crown Prince’s visit to Paris in April 2018, and we were prepared. The agreement was signed at the Elysée Palace during the crown prince’s state visit.”

The agency’s creation was defined in a treaty between France and Saudi Arabia, Mestrallet said.

“We have a dual role — on the one hand, to plan the project jointly with the RCU, and on the other hand, to mobilize the vast range of French expertise in all areas of the project: Engineers, architects, urban planning, infrastructure for roads, energy, transport, water and gastronomic training,” he said.

“We have access to renowned French chefs in AlUla, but young Saudis are also given gastronomic training in France. We also have contributions from major French cultural institutions such as the Louvre, Chambord, Versailles, and we have access to French knowledge relating to tourism, hotels and security.”

He said the team comprises 30 highly qualified people. The architecture and urban planning sector are headed by Etienne Tricaud, former president and founder of AREP, the biggest architectural firm in France.

Tricaud was so efficient, according to the Saudis, that he was given the responsibility to integrate both teams — the French one and the RCU’s — into a single entity.




Gerard Mestrallet, head of the agency for the development of the site

Nicolas Lefebvre, head of Afalula’s department of tourism and hospitality, along with the CEO of the Eiffel Tower Co., have been charged with making the site a leader in sustainable tourism.

Mestrallet said: “For security, the head is Bernard Petit, the former chief of the Paris Police Judiciaire. For botanical products and concepts, we have Elizabeth Dodinet, with over 20 years’ experience in archeology, ethnobotany and aromatic plant research.

“Then we have Regis Dantaux, in charge of human resources; Charles Chaumin, in charge of water and the environment; Stephane Forman, in charge of agriculture; and Jean-François Charnier, scientific director.

“Clearly, we have an exceptionally high level of expertise that France is making use of in order to make this Saudi project a success in every sense.”

Mestrallet said the masterplan represents what the project will be in 10-20 years, with resorts, hotels and museums, and there are plans for eight museums to be built.

One project is from the French “star-chitect” Jean Nouvel, who built the Louvre in Abu Dhabi. Nouvel is designing a hotel complex in Sharan Nature Reserve. The project was the crown prince’s idea before the RCU was officially created, Mestrallet said.

An architecture competition was organized for a hotel complex, and Nouvel won. “I was part of the international jury that selected him, and his project is really amazing,” Mestrallet said.

“It will be built entirely in the rock, and will thus have a minimal impact on the nature reserve.”


ALSO READ: French engineer returns ancient coins to AlUla


The AlUla project is on a site the size of a small city, and Afalula will take part in its future development.

“There will be billions in investments, but it will be essential for us to respect the site, its natural features, the heritage, principles and rules for sustainable development, and its impact on the local populations. It is thus a complex challenge,” Mestrallet said.

“These principles are part of the Crown Prince’s Vision 2030, and are included as part of the treaty between France and Saudi Arabia. French companies will take part just like others in tenders, and we’re here to assist and mobilize them.”

Saudi Arabia aims to host 2 million visitors per year in AlUla by 2035. The RCU, which is responsible for protecting and promoting the area, estimates that the project will create more than 67,000 jobs, almost half of them in the tourism sector.

Around 80 percent of AlUla county will be protected, including cultural and natural heritage sites.

Mestrallet said the first masterplan will be finished in six months. “We’re very happy to be associated with this project, which touches upon the soul of Saudi Arabia and will have a huge impact,” he said.

“The project is linked to 7,000 years of history in the Kingdom, and by developing it, King Salman and Crown Prince Mohammed bin Salman want to reveal this history to their people. Our role is to use French expertise in order to serve this purpose.”

There will be a large research center on Arab civilization, and eight museums in AlUla.

One museum will be dedicated to modern art, and Afalula is relying on revered French cultural institutions such as the Pompidou Museum to participate.

Another museum is devoted to the Nabatean period, and other museums will focus on horses, astronomy, minerals, perfumes and oases.

French gastronomy was an important part of the second year in the Winter at Tantora festival, which takes place every weekend for 10 weeks from the beginning of December, Mestrallet said.

“A concert hall has been built in the desert, as well as housing for the festival. There’s a magical spot, surrounded by Nabatean tombs, which features an open-air restaurant where many-starred Michelin French chefs visit and cook. Some of these are Anne Sophie Pic, who has two three-star restaurants and another with two stars.

The first female French chef who came was Hélène Darroze. Other outstanding chefs included Yannick Alleno of Le Doyen restaurant in Paris; Guy Martin, chef of the Grand Vefour restaurant in Paris; and Arnaud Donckele, the three-star chef of the Cheval Blanc hotel in St. Tropez, who will open a Cheval Blanc restaurant at the Samaritaine department store in Paris.”

The AlUla project aims to open the Kingdom to the world, Mestrallet said, adding: “It’s an immense privilege for us to follow up on the French president’s decision to participate in the creation of this project.

“We want to be sure that the project is respectful of sustainable development, the wellbeing of the environment, and its effect on all the local populations.”


Startup of the Week: Framed by Hams; Documenting precious memories

Startup of the Week: Framed by Hams; Documenting precious memories
Updated 20 April 2021

Startup of the Week: Framed by Hams; Documenting precious memories

Startup of the Week: Framed by Hams; Documenting precious memories
  • What makes Framed by Hams unique is the company’s ability to customize items so each frame is different

JEDDAH: Motherhood is the most precious experience in any woman’s life. Every mother wants to document each special moment with her newborn, whether through photographs, videos, sketches or paintings.

New Saudi mother Hams Jambi thought of documenting her experiences in an innovative and artistic way: Custom-made nursery picture frames, with hand-drawn characters, shapes and plants, as well as registering the baby’s height and weight at birth, their date of birth and even the hour they were born.

The 25-year-old mother set up the company in early March, and her seven-month-old daughter Misk as her source of inspiration.

“Being a mom at this stage is what gave me this business idea. I was looking for something I couldn’t find in the market,” Jambi told Arab News.

“Giving birth and being a mother is an indescribable feeling — it is such a special experience that we want to materialize the memory and make it something tangible … That’s why we add all of the baby’s measurements, along with the timings,” she said.

Just like all mothers when they are expecting a baby, she started designing and decorating her child’s nursery. “When I was looking for pictures to frame, I didn’t find anything special, or … anything at all. Even Instagram businesses take pictures from online and print it on a canvas and sell it,” she said. “I wanted something different.”

She noticed two things that mothers were doing to decorate their newborn’s rooms: Either ordering art pieces from abroad, or simply printing from the internet.

“This is where the business idea came and I thought about making something special for each baby, and, of course, each mother wants something different and unique for her baby, different from (the) usual nursery decorations that almost everyone has,” she said.

What makes Framed by Hams unique is the company’s ability to customize items so each frame is different, with nothing repeated, unless the client asks for a specific design.

The new mother also expanded her target through providing a gift wrapping service for customers to buy the frames for friends or family members. “Our prices are affordable which makes it an even more convenient gift,” she added.

The startup has sold 12 frames so far, and is aiming to sell 200 by the end of the year. Keep up with Framed by Hams on Instagram (@framed_by_hams) where orders can be placed too.


Lebanese author Hoda Barakat’s ‘Voices of the Lost’ is a dark, profound novel

The book won the International Prize for Arabic Fiction. Supplied
The book won the International Prize for Arabic Fiction. Supplied
Updated 17 April 2021

Lebanese author Hoda Barakat’s ‘Voices of the Lost’ is a dark, profound novel

The book won the International Prize for Arabic Fiction. Supplied

CHICAGO: Winner of the International Prize for Arabic Fiction, “Voices of the Lost,” written by acclaimed Lebanese author Hoda Barakat and newly translated into English by Marilyn Booth, is a dark, profound novel that follows the lives of six men and women who confess their untold truths to their loved ones through letters. None of the letters reaches their intended recipients, however, and their devastating admissions are left to strangers who are then inspired to disclose their own secrets. And through their confessions, a series of letters emerges on life, love and devastating loss.

In an unknown part of the world, where war, poverty and destruction have caused life to veer in unpredictable directions, strangers struggle with the events of the past, both those they were responsible for and those they were victims of, which forced them into lives they neither wanted nor could have ever dreamed of. Split into three parts — for the lost, for the searching, and those left behind — the novel begins with an undocumented immigrant who is writing to an ex-girlfriend. He writes to her of the most profound and disturbing moment in his childhood, one that changed the trajectory of his life forever. From that moment on, life has never quite been the same, and it has led him to a dark place where he cannot mentally, spiritually or physically settle.

Barakat’s novel is a delicate experiment in confession and a testament to the catalyzing power of writing to reveal the truth. Her characters commit their lives to paper without the fear of retribution, confessing their crimes of infidelity, torture and more. None of the writers can return to his or home, to a state of comfort or to the past. Some have lost their countries, while others have simply run out of time.

Barakat’s characters must force themselves to move forward from their past sufferings. Where loved ones and society may not accept their revelations of shortcomings or shame, their confessions are a reconciliation with themselves. And in writing of their pain, they connect with one another. They are not alone, no matter how lonely the act of writing a letter can be. And in a moment of consciousness, awake in their confessions, Barakat’s characters reach a spiritual peak within themselves, one that pushes them to continue surviving.

 


US actress Yara Shahidi to produce new TV series

Yara Shahidi shot to fame for her role on TV’s ‘Black-ish.’ File/ Getty Images
Yara Shahidi shot to fame for her role on TV’s ‘Black-ish.’ File/ Getty Images
Updated 17 April 2021

US actress Yara Shahidi to produce new TV series

Yara Shahidi shot to fame for her role on TV’s ‘Black-ish.’ File/ Getty Images

DUBAI: US actress Yara Shahidi is developing a new television series via her production company, 7th Sun Productions. The part-Middle Eastern star is set to executive produce and develop an on-screen adaptation of Cole Brown’s critically-acclaimed debut book “Greyboy: Finding Blackness in a White World,” alongside her mother and business partner Keri Shahidi and Brown for ABC Signature.

“Honored to bring @coletdbrown’s incredible & nuanced telling of our stories as brown folx onto screens w/ my PARTNER IN CRIME @chocolatemommyluv! (sic)” wrote the 21-year-old on Instagram, alongside a screenshot of a Deadline article announcing the news of the series.

“The work of displaying and celebrating the ENTIRE spectrum of our humanity continues to feel more prescient (sic),” she added.

Published in 2020, “Greyboy: Finding Blackness in a White World” is a first-hand account of what it’s like to navigate life in America as a mixed-race adolescent. The book was nominated for an NAACP Image Award for Outstanding Literary Work by a Debut Author.

According to the author, the book is heavily inspired by an essay he wrote in college.

“What a dream come true this is!” exclaimed Cole on Instagram. “It still astounds me to think that what began as a college essay a few years ago has made it all the way to ABC. No duo I’d rather work with to bring Greyboy to life than @yarashahidi & @chocolatemommyluv. Let’s get to work! (sic),” the author posted on social media.

Back in September, Shahidi took to social media to praise Cole’s debut book, writing that “his honest reflections on the way in which racial identity takes shape and shape-shifts through his own experiences feels intimate, and yet taps in to the common experience of moving through space as a black and brown person.” She added that “It’s been a must-read in our household!”

“Greyboy: Finding Blackness in a White World” isn’t the only project that the “Grown-ish” star is currently working on. 

The US-Iranian actress and activist is also producing a new single-camera comedy series, titled “Smoakland,” for Freeform via her production company 7th Sun.

The rising star and her mother announced the launch of their new production company in July and signed an exclusive overall deal with ABC Studios which will see them develop television projects for streaming, cable and broadcast platforms.


In the Iron Throne’s shadow: Arabs reflect on ‘Game of Thrones’ 10 years on

‘Game of Thrones’ topped the lists of most illegally viewed shows online, as many fans couldn’t afford or gain access to HBO’s streaming services.
‘Game of Thrones’ topped the lists of most illegally viewed shows online, as many fans couldn’t afford or gain access to HBO’s streaming services.
Updated 17 April 2021

In the Iron Throne’s shadow: Arabs reflect on ‘Game of Thrones’ 10 years on

‘Game of Thrones’ topped the lists of most illegally viewed shows online, as many fans couldn’t afford or gain access to HBO’s streaming services.
  • Middle Eastern fans look back on 10 years of a show that changed pop culture forever

RIYADH: Whether you loved it or hated it, followed it casually or watched every episode twice, chances are you’ve at least heard of the HBO smash hit series “Game of Thrones.” The eight-season fantasy epic, which began 10 years ago today, has secured its place in pop culture history as one of the most famous TV shows of all time.

The adaptation of George R. R. Martin’s A Song of Ice and Fire novels, the show began on April 17, 2011, to an audience of eager fans. Over the course of its run, the show has garnered 160 Emmy nominations, taking home 59 of them, making it one of the most successful shows in history.

Najla Hussam, an avid fantasy fan who cited Martin as one of her favorite authors, told Arab News that the show provided a way for her to bond with her father, who started reading A Song of Ice and Fire when the first volume was published in 1996.

“My dad tried for years to get me to read the novels, but I honestly just wasn’t that interested. When the TV series first came out, he asked me to watch the first season with him to see if he could get me to change my mind about it. I was hooked instantly, and once the season was over, I borrowed all the books from him so we could discuss our theories about how the future of the show might look,” she said.

The show has also gained notoriety for other reasons. Due to its exclusivity of being shown on the HBO network, the show is also famous for being the most pirated TV series of all time. Consistently throughout its run, Game of Thrones topped the lists of most illegally viewed shows online, as many fans couldn’t afford or gain access internationally to HBO’s viewing and streaming services.

In the MENA region, the show was broadcast on the Orbit Showtime Network (OSN), with previous seasons being made available via the network’s on-demand service, OSN Play. Leading up to the start of season 7, OSN launched a 24-hour binge-watching channel, with all of the previous seasons being made available.

However, in the Arab world, the show saw a lot of pirating activity for another, unusual reason; the OSN network broadcast the show in its full, uncensored version, which caused a lot of fans to hunt online for a version that removed or glossed over some of the more controversial themes.

Danya Assad, a 30-year old viewer from Riyadh, said that she only started watching the series around the start of the fourth season in 2013. She was only able to get into the fandom around the time censored episodes started to become available online.

“I heard about a Game of Thrones group online made up of fans who volunteered to censor some of the more unsavory content, and that was how I was able to start watching,” she said. “I loved the premise of the show, I’m a huge fan of fantasy television and I was definitely interested in watching, but the amount of sexual content and other disturbing themes really put me off.”

Assad said that while some fans might argue that she didn’t get the “authentic” experience of watching the show, she feels much more comfortable knowing that she was able to bypass the more controversial themes and still manage to enjoy the show.

“I loved Game of Thrones because of the political intrigue, for the richness and depth of the lore and the history, because of the unexpected plot twists like the Red Wedding, for things such as the fashion and the set dressing. By removing the gratuitous sexual content and some of the more violent scenes, I don’t think I missed out on much,” she said.

A man stands atop the ancient fortress of Ait-ben-Haddou, where scenes depicting the fictional city of Yunkai from ‘Game of Thrones’ were filmed. (Getty Images)

The show has seen its fair share of controversy over the past decade. Despite the accolades heaped on the show, the amount of violence portrayed in the series, including the deaths of many innocents and children, the sexual content, and heavy themes such as incest and rape, have drawn much ire from fans and critics alike.

“I couldn’t make it past the first few episodes, honestly,” Talal Ashour, another Saudi fantasy fan, said. “I can understand the appeal, but to me Game of Thrones just crossed way too many boundaries. It’s a beautifully crafted show, and I’m still amazed by certain aspects of it, like the CGI dragons or the fact that they created a whole new language for the Dothraki, but I couldn’t get passed the darker aspects of the show.”

But perhaps the biggest let-down for fans of the series was the ending, which many fans believe was a massive disappointment and a departure from the grandeur of the previous seasons.

“Game of Thrones ended for me after Season 7,” Hussam said. “The more they started to deviate from the books, the less I started to enjoy it. I think the writers did fine when they had more content from the original books to work with, but once they started doing their own thing, it all just went downhill.”

Martin, notorious among fans for being slow to produce new novels, published the latest book in A Song of Ice and Fire in 2011, the same year the show began. Martin told the press at the time that the novel had taken six years to write, and that a sixth novel out of a planned seven, “The Winds of Winter,” was still in the works.

“I think the writers thought they could go off what they had and that the sixth book would be out by the time the series caught up,” Assad said. “It’s such a shame that they couldn’t or wouldn’t delay the series until the book came out. A lot of fans were unhappy with the way the series ended. I feel like we deserved better.”

Assad is not alone in that. A change.org petition appealing to HBO with a request to remake the final season with “competent writers” began circulating online the day the final episode debuted, with almost 2 million people signing and the numbers still increasing two years later.

However, despite the controversies and the overall disappointment with the way the series ended, the show has retained a strong fanbase in the Middle East.

“I had a Game of Thrones-themed birthday party in 2019,” Hussam said. “I dressed up as Daenerys, all of my friends came in costume, and my cake was a replica of the box that held Dany’s dragon eggs in it, including three edible cake eggs. It’s the best birthday I’ve ever had.”

“I don’t think one bad season can ruin the whole series,” said Assad. “Even if the ending was disappointing, the other seasons are still incredible to behold. Maybe in time I’ll be able to go back and watch the show and enjoy it even more. And if the ending still disappoints me after the second time, I can always hold out hope for ‘The Winds of Winter.’”


Meet the Lebanese animator Louaye Moulayess living out his Disney dream

Meet the Lebanese animator Louaye Moulayess living out his Disney dream
Updated 16 April 2021

Meet the Lebanese animator Louaye Moulayess living out his Disney dream

Meet the Lebanese animator Louaye Moulayess living out his Disney dream
  • Louaye Moulayess on why ‘Raya and the Last Dragon’ is his most personal project yet

DUBAI: Lebanese animator Louaye Moulayess was born and raised in a divided nation. With Disney Animation Studios’ “Raya and the Last Dragon,” his latest major project, he had the chance to tell the story of a fictional land not unlike his own, and to lay out a path forward for how it may be united again.

“When I saw the screening of the film, I realized what the movie is about: It's about trust and what we can do if people come together. Coming from the Middle East, I really like that,” Moulayess tells Arab News. “You see all these different lands inspired from countless places, and basically you see them individually. But if they are so beautiful individually, what can they do if they come together?

Louaye Moulayess is a Lebanese animator. (Supplied)

“That message resonates a lot with me coming from Lebanon, as all this especially applies to Lebanon,” he continues. “I was really proud to be part of something that just tells that story. I like that message. I know It sounds simple, but if we can just show this to kids and families, for me, that would make me happy.”

“Raya and the Last Dragon,” directed by Don Hall and Carlos Lopez Estrada, is set in the fictional kingdom of Kumandra, which is not based on the Middle East, but Southeast Asia. In this fantasy version of that region, humans and dragons once lived in harmony, before mistrust and political division tore the kingdom apart, causing the dragons to disappear and chaos to ensue. The film follows a princess named Raya who sets off on an adventure to unite the kingdom and bridge the gaps between the various warring factions.

“Raya and the Last Dragon” is Moulayess’s latest major project. (Supplied)

Moulayess wants people in the Middle East watching the movie to apply the film’s message of togetherness and collaboration not only to politics, however, but to all aspects of life.

“It applies especially to Lebanon, but I don’t want just that. Yes, you can apply this politically, but you can also apply this to your (apartment) complex, you know what I mean? It can be global, but you can also apply it to your circle of friends. This is the appeal for me. It doesn't have to be political. It doesn't have to be big,” says Moulayess.

Moulayess himself started small — growing up primarily in the Lebanese village of Elissar. From a young age, sitting on the couch with his brothers and sisters, Moulayess fell in love with Disney movies, and saw their ability to convey a powerful message. He knew, even back then, that was what he wanted to do with his life.

“Raya and the Last Dragon” is directed by Don Hall and Carlos Lopez Estrada. (Supplied)

“I felt something good. I'm like, ‘I want to be part of this.’ That was the first step. The problem was, I didn't see anybody do art (among) my family and friends. So I started doing computer science. And since there was starting to be computer animation, I said, ‘Maybe I can do something with the computer.’ I did computer science for a year. Didn't work. I didn't like it. It wasn't for me, basically,” says Moulayess.

Moulayess started researching, trying to figure out how he could get from his small village on the Western edge of the Mediterranean to the halls of Disney or Pixar on the other side of the world.

One day, he stumbled upon someone who could possibly help him, an animator at Pixar in San Francisco. Overcoming his nervousness, he decided to send him a message out of the blue.

Moulayess worked on the “Ice Age” films, “The Peanuts Movie” and “Ferdinand,” before finding a home at Disney, first animating “Frozen 2.” (Supplied)

“I was around 16 or 17. I emailed him and said, ‘Listen, I'm from Lebanon, this is the situation: I want to do animation. Can you help me?’ He was very kind, he replied right away. He told me, ‘Since you don't have a portfolio, try to go to this animation school in San Francisco. It’s expensive, so you’re going to have to have a job on the side.’ He just gave me a lot of good advice. And it's because of him that I made the decision to go to that school specifically,” says Moulayess.

When he’d completed his studies, he managed to land an internship at the place he had been dreaming of: Pixar.

“And guess who my mentor was? It was that animator. I said, ‘Hey, I want to show you something.’ I showed him the email I sent him when I was 16. I looked him in the eye and said, ‘I'm here because of you.’ And it was honestly a great moment. It was like everything had aligned to have him as my mentor.”

In “Raya and the Last Dragon,” he was able to put himself in the film a little more literally than you may imagine. (Supplied)

Moulayess went from working on “Cars 2” at Pixar to Blue Sky Studios, working on the “Ice Age” films, “The Peanuts Movie” and “Ferdinand,” before finding a home at Disney, first animating “Frozen 2” before taking on “Raya and the Last Dragon.” At Disney, Moulayess is not only able to add his own voice to the legacy of the greatest animation studio in history, he’s also able to thrive precisely because of his background and perspective.

“I'm very proud to be here because of the diversity that they try to push every single day,” he says. “They understand that diversity will bring more to the table. I grew up in Lebanon, and I saw movies that maybe somebody else didn't see or shows that somebody else didn't see, I read books, I saw Arabic calligraphy, I saw my culture, and I have stories to tell that my gym teacher used to tell me from the village where he grew up. I mean, who else has that stuff?

Moulayess worked on “Cars 2” at Pixar to Blue Sky Studios. (Supplied)

“At the studio, the chief creatives understand it's in their best interest to bring diversity because it means more stories, more personality. I think studios around the world are starting to understand this as well,” he continues.

In “Raya and the Last Dragon,” which he considers his most personal project among the 15 films he has so far worked on, he was able to put himself in the film a little more literally than you may imagine. In fact, one of the most memorable bit characters in the film was entirely Moulayess’ creation.

“I'm gonna give you my process,” he says. “Basically, I get asked to do shots. And for fun ones, I like to shoot references of myself in the room. I put a tripod, and I just act out the performance as much as I can. I'm a terrible actor, but I try to hit the beats that I want to hit. There’s one character holding flowers who has a very comedic moment in the film. I feel it's me, I put myself in this character. I shot the references. The directors, Don and Carlos, were laughing for, say, two to three minutes. That made me happy. They said, ‘Do exactly that.’ So I animated him exactly to my reference video. I feel that it's me in the screen.”

Moulayess smiles. “I’m going to tell you the truth,” he says. “I’m incredibly lucky.”