A Force Named Frnck: “I want the calibre of work to be the representation of who I am.”
This interview was originally conducted in February 2021.
Frnck’s response to when he first picked up a camera is swift.
“2017. April.” However, a few seconds later, he is doubtful. He looks off into the distance thoughtfully, placing a finger on his cheek as he retraces his path to being one of Kenya’s top music video directors.
“I think it’s 2017,” he finally says. Frnck’s directorial ingenuity has been a key driving force behind the meteoric rise of rapper Chris Kaiga. Elements of a retro-style feature prominently throughout Frnck’s work, which includes 2019’s “Enjoyment” by Ben Vic. By the time we get to Kaiga’s smash hit “Mastingo” featuring Kahu$h, we witness a full-blown 80’s-inspired visual release, complete with headbands, Spandex, and home workout videos. “The feeling from the music is what inspires that type of mood,” Frnck explains. The ‘feeling’ is only part of his creative methodology: the first step is listening to the song. “I keep it on loop. Whatever comes [to mind] is what guides the rest of the process.”
I wasn’t intending to be a photographer. I was just trying it out, having fun. And here we are.
Having been introduced to photography in 2017 by a friend and fellow photographer, picking up a DSLR provided relief from the pressure of his ongoing university degree (“I had studied so hard.”). By his fifth year of school, he had bought his own camera and spent his time finding gigs to shoot. This maiden year in photography was a mixture of taking photos at events like Thrift Social and doing experiments at home. At the time, working with Ocular Productions, a creative agency, allowed him to provide coverage for events company Kenya Nights for concerts like Major Lazer in 2019. The transition into video came shortly after he graduated from university. A meeting with Chris Kaiga set the ball rolling for his work in music videos, and the rest is history. “The producer called Manchild is the one who introduced me to Chris [Kaiga], so I just started doing videos for Chris.”
First off, and also Frnck’s directorial debut, was “Niko On”, shot partly on the streets of the Nairobi CBD. This was quickly followed by “Zimenice”, “Bundas” and “Chain Chain”, with the retro technique getting progressively stronger with each release*. Music That Moves, the visual accompaniment to Chris Kaiga’s EP of the same name, was shot to promote both the EP and the sound and ideology that DeBe has brought to the Kenyan music scene.
Most of the things I do is more of making it comical. I think that’s the best way to ground Kenyan music.
Comedy has long been a form of expression and escapism in Kenya’s media landscape, with satirical shows often taking the top slots in viewership ratings. Undoubtedly, there exists a long history of comic relief in mainstream Kenyan music videos where emphasis is placed on viewers being able to ‘see themselves’ on screen. Citing “Landlord” by Mejja, Frnck attributes the comedic storytelling style of Genge-era music videos as an inspiration for his work. “I think Kenyans like to enjoy themselves. It [a music video] has to be something funny. Something people can enjoy and be entertained with when they’re at home, even with their families.”
The end goal is doing film work.
Bound to his talent is a commitment to his craft. When he’s not shooting, he’s comparing notes with other work out there. “I didn’t go to film school. Most of the time I’m reading about film [and] getting my hands on how to improve.” Citing the work of directors such as Dimitri Basil and Valentin Petit as stylistic inspiration, Frnck finds that he draws more inspiration from films than other music videos. Ultimately, the aspiration is to do films with directors like David Gitonga (Nairobi Half Life, Disconnect) high on his wishlist of future collaborators. Agency work and production houses also feature prominently in his prospective plans, while his portfolio also stretches into the realm of motion graphics, as evidenced by his visual effects work in “Konkodo” and “Next”. Despite this, music videos remain close to his heart amidst an increasingly greater appetite for visuals amongst audiences — an appetite that Frnck is keen to satisfy through his production house Wunder Pictures, which he started after leaving Ocular Productions. “We’re in an age where visuals are the things that put music out, instead of the songs themselves. Even when I shift to film work, I’d probably want to stick with music because I find that there’s a lot of great musicians out there that just don’t have the support, especially when it comes to visuals.”
Access remains one challenge that continues to plague almost all manner of productions. Access to gear, for instance, proves to be a painful constraint for many, in the midst of a shortage of flexible options for hiring or purchasing equipment. In spite of this, a determination persists, enabling artists to do more with less. However, with time, the need to upscale is sometimes confronted by the challenge of affordable access to gear. “Guys who are trying to come up in the industry might have the capability and the skill set, but they don’t have the tools to harness and nurture that talent. Not that gear controls everything. You can shoot with your phone. But with time, you want to up the game and the production quality.” Access to location is another challenge, and fabled favourites include the legendary permit wars within the Central Business District between photographers and the City Council. Frnck notes that this extremely limited access works against not only photographers and videographers but also against a more significant objective of promoting our culture and heritage. “What’s limiting guys [who are] starting and trying things out is access to the resources we have. Shooting at game parks, reserves, museums — those are things that will promote the nation and our culture, but we still don’t get that access. We have to get permission, even [for] shooting on the streets.”
Just do it. Find a team of people that you can work with. Find people at your level, so that you grow together and nurture each other.
All in all, the abundance of high points makes the work worthwhile. Not much can compare to the status of being a part of an entourage and everything that comes with it: the VIP treatment, backstage passes, and rubbing shoulders with performers. Filming Chris Kaiga’s tour in Uganda and covering events such as Major Lazer’s 2019 concert remain some of his best experiences for these very reasons. None of it would have been possible without the help of his team, to whom he remains grateful. “I’m not a lone wolf. I have people that are helping me. If you’re starting out, find someone you can work with because doing all these things alone is extremely tiring, and it will wear you out. Find people at your level so that you [can] grow together and nurture each other as you’re progressing. Find people with the same vision as to where you want to go, and once you do that, you guys can do anything.”
There is a magic formula, Frnck says, that anybody starting out in production can follow. “Just do it,” he says. Like most endeavours, the hardest part is getting started and being your own cheerleader. “Find people who can inspire you and mentor you. I wasn’t alone. Because at the end of the day you want to sleep in, [but] your friend wants to go out, so at least you’re progressing, and you’re doing something every single day.”
”I Want” by Chris Kaiga, also directed by Frnck, was released shortly after this interview.
Visit Wunder Pictures for more of Frnck’s work.
See what Frnck is up to on Instagram.
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