Melina Matsoukas Talks About "Formation" Video
We take music videos for granted. In about 35 years, they’ve gone from an alleged scourge on the musical imagination to a form of oxygen. Every so often, one comes along that touches a nerve or causes a scandal. Back in February, on the eve of the Super Bowl, “Formation” stopped the nation. It was another Beyoncé sneak attack, but also a statement piece and a work of art. And for a month, the intent of its imagery — Beyoncé atop a sinking New Orleans Police Department cruiser; the witchiness of her wide-brimmed hat and her seemingly spiritually possessed head bob on the porch of a manse; a young black boy dancing before a phalanx of militarized cops — was deconstructed, debated and defended.
This was Beyoncé, of course. But it was also Melina Matsoukas, who directed “Formation.” These are edited excerpts from The New York Times' conversation with her.
At what point did you get involved with “Formation”?
Right after I came back from Cuba last year, after the family vacation. Beyoncé was performing at the Super Bowl, so she wanted this to come out right before that, obviously, to set up her performance. She wanted to shoot in two weeks. And because it was also my birthday, I probably didn’t even really think about it for a week.
That’s a great birthday present.
It was. So I didn’t work on it, because I wanted to enjoy my birthday. I still have this habit, I guess, continued from college, where I procrastinate up until the last moment. So at 2 in the morning on a Sunday night I came up with this concept. I sent her the treatment and ideas maybe at 5, 6 in the morning, thinking that, oh, I’ll hear back from her later in the day, and she responded right away, of course, and was like, “Come to my house and let’s talk and let’s do this.”
You stay up late for her like the rest of us!
Thankfully, Beyoncé stays up to deal with me and my procrastination, as well. Beyoncé also stays up to deal with herself. She is probably the hardest worker I know and is very dedicated to her art, and that is why she’s so successful.
It was exciting seeing the world re-engage with a music video as a formal work. We weren’t just talking about Beyoncé with “Formation.” We were talking about history, current affairs, art and politics.
That wasn’t anything expected. I had no idea that it would have that reaction and initiate those kinds of conversations. That was very satisfying as an artist to be a part of that. I feel like there’s been a lot of racial injustice in our community, and we’re hungry for somebody to say something and for somebody as strong as Beyoncé to say something and show value to people of color.
This was Beyoncé, of course. But it was also Melina Matsoukas, who directed “Formation.” These are edited excerpts from The New York Times' conversation with her.
At what point did you get involved with “Formation”?
Right after I came back from Cuba last year, after the family vacation. Beyoncé was performing at the Super Bowl, so she wanted this to come out right before that, obviously, to set up her performance. She wanted to shoot in two weeks. And because it was also my birthday, I probably didn’t even really think about it for a week.
That’s a great birthday present.
It was. So I didn’t work on it, because I wanted to enjoy my birthday. I still have this habit, I guess, continued from college, where I procrastinate up until the last moment. So at 2 in the morning on a Sunday night I came up with this concept. I sent her the treatment and ideas maybe at 5, 6 in the morning, thinking that, oh, I’ll hear back from her later in the day, and she responded right away, of course, and was like, “Come to my house and let’s talk and let’s do this.”
You stay up late for her like the rest of us!
Thankfully, Beyoncé stays up to deal with me and my procrastination, as well. Beyoncé also stays up to deal with herself. She is probably the hardest worker I know and is very dedicated to her art, and that is why she’s so successful.
It was exciting seeing the world re-engage with a music video as a formal work. We weren’t just talking about Beyoncé with “Formation.” We were talking about history, current affairs, art and politics.
That wasn’t anything expected. I had no idea that it would have that reaction and initiate those kinds of conversations. That was very satisfying as an artist to be a part of that. I feel like there’s been a lot of racial injustice in our community, and we’re hungry for somebody to say something and for somebody as strong as Beyoncé to say something and show value to people of color.
