Danielle Hinde: Doomsday is da bomb

When did you know you had an eye for spotting talent? 

When I was in high school I recruited the boys’ swim team and girls’ cheerleading team to perform in a talent show recreating Madonna’s Human Nature music video. With me, of course, as Madonna. Lots of shirtless boys, fishnet tights, pleather and licking. To say it was scandalous in a small midwestern town would be a massive understatement.  They rose to the occasion and performed my choreography beautifully, which was my entry into the world of making controversial art.  

When I started in the industry at a very young age, I learned that taste can’t be taught, and I developed an eye for those filmmakers that either had it or didn’t. At least, from my perspective. Taste is also subjective, and I learned  early on that I had a very specific palate and only wanted to work with filmmakers who shared my weirdness.  

I learned that taste can’t be taught, and I developed an eye for those filmmakers that either had it or didn’t.

The first video I ever got Hiro Murai was when he was a filmmaking baby, still in film school. This quiet young man made the most unhinged music video [Signs, for Bloc Party], and I knew he had something special in him. I just wanted to see what else he could do.  

Who were some of your biggest inspirations coming up in the industry? 

My biggest inspirations were Michel Gondry, Chris Cunningham, Jonathan Glazer and Spike Jonze. I grew up watching their videos after school on MTV, and I was mesmerised. Back then, I always paid attention to the chyrons and made note of who directed what. I always carried those filmmakers with me. 

When I went to film school at Hunter College in NYC, my final project was a music video, and this was way before film schools were even acknowledging or teaching them. When I got a job at Partizan working with Gondry, it all came full circle. And even more so when I got to sit in between Gondry, Jonze and Cunningham at dinner after the Palm Pictures DVD release of their work. I thought my 23-year-old head would  implode. 

What qualities do you look for in creative collaborators? 

Not only do we need to be innovative and original,  but we also pride ourselves in working with collaborators who are kind and treat crew/clients well. The day of dealing with ego maniacs is long gone.

On top of all the other demands the job requires, no one wants to manage a director’s narcissism. The process should be fun and inspiring for everyone involved. 

The process should be fun and inspiring for everyone involved. 

What piece of work makes you think, ‘I wish I’d made that’? 

As a former dancer, I am obsessed with meticulously executed choreography pieces. Megaforce does an incredible job with movement  and seamless VFX. Their Burberry spots are some of my absolute faves.  

Anyone who was on a jury with me last year knows how annoyingly passionate I was about the Brazilian music video for Jovem MK [Meu Karma]. I fought for it to get more love in the awards circuit.   

I had the pleasure of having [director and screenwriter] Konrad Dantas on the Cannes jury that I presided over [Entertainment Lions for Music, in 2023]. The work he is doing with KondZilla is beyond inspiring. People who make content that are brave enough to stand up to injustices and celebrate subcultures will forever be my heroes.  

Which project that you were part of are you most proud of and why? 

This is America was a highlight. No one involved in that project knew it would have quite the impact that it did, and it was incredible to watch the tidal waves it created politically and creatively.

I was also excited to get our director Gregory Ohrel on the Bad Bunny Super Bowl halftime show. Ohrel is one of the kindest, most talented and collaborative directors I know. To see him get to shine in a platform so global with such a huge impact made my Mama Doom heart swell. It reminded me why I do what I do. Ohrel’s gratitude afterwards is something I will always carry close.

Directors don’t always see what goes on behind  the scenes so when they acknowledge and  appreciate it, it makes our jobs even more  rewarding.  

Is there a project you were part of that you think didn’t get enough attention? 

Honestly, the projects I am most proud of got the appropriate amount of attention and sometimes even more than expected, so no complaints over here. 

A lot of the projects I worked on were pretty indie, so it’s been fun to see creativity and innovation rise over record sales and marketing.  

As a music video production specialist, where do you see the industry going in the next five years? 

Sadly, I don’t think music videos will ever be what they were in the glory days. When they were an outlet of self-expression and raw creativity/storytelling.   

Sadly, I don’t think music videos will ever be what they were in the glory days.

They will become more about verticals and social media and ad-based content. I was really hoping some of that content would find its way back. It does every now and then, but it’s not as prevalent as it was.  

Technology is changing so rapidly, the way we know music videos today will be drastically different in five years. It already is.  

In a traditionally male dominated industry how important is it for you and Doomsday to continue to champion female talent? 

I’ve never wanted to be defined by my gender or treated differently because of it. In many rooms throughout my career, I’ve been the only woman at the table, but my focus was never on being ‘the female in the room.’ It was on showing up with conviction, creativity, and resilience, and expecting the same level of respect and professionalism anyone deserves.  

I’m proud to be a woman and of all the wizardry and wonder that we bring to this industry. However, I don’t want to be defined as a “female business owner.” Business owner will do just fine. With that said, I have championed many female filmmakers throughout my career and started the careers of many prolific female voices.  

Voices that are more important than ever right now. I am raising a fierce young girl, and I want her to grow up in a world where she feels represented and seen.  

Tell us one thing about yourself that most people won’t know. 

I am currently in post on a documentary about POTS and co-morbidities [an autonomic nervous system disorder], which is something I’ve struggled with for most of my life. I am very passionate about advocating for women who are chronically ill while also trying to navigate the medical community. It can be soul sucking. Through the film, I wanted to inspire people to be able to have rich lives and careers, regardless of their diagnoses.  

It’s important to bring awareness to these debilitating illnesses. I often hid my illnesses and struggles from the industry, but I’ve come to realise it’s more powerful to show what I can still accomplish, and push through, despite the obstacles and disabilities.  

Also, the beauty of age, you just don’t care what people think of you anymore.  It’s honestly made me better at my job. I cut through the bullshit and get to the good stuff. I don’t have the bandwidth for anything else.  

My biggest piece of advice for people entering this industry is don’t give your entire self to the job. Find balance, because if you don’t, your body will take the toll later.  

How does it feel to be labelled an icon of the industry? 

Honestly, at first blush… old.  Then, incredibly honoured and humbled.   

I usually move through the world in the shadows. I’m typically not at the parties, award shows, no social media etc. I feel anonymous a lot of the time and no one sees what’s happening behind the curtain, so I do appreciate the recognition of what is now almost a 30-year career. And then back to feeling old again.