Women of Ubisoft – Tiphaine Boulangé
UFT was looking to make more shows, and Boulangé began working on more and more in-development projects across a wide range of IPs, including Far Cry Blood Dragon, Rayman, and Hungry Shark. Her job now focuses on creating introductory assets to pitch broadcast networks on the themes, visuals, and core values of each new project. To find out more about her role, projects, and aspirations, we spoke with her for this entry of Women of Ubisoft
How did you first join Ubisoft?
That’s why I applied to business school so I could work on things relevant to my time. I felt a bit out of place in business school as well, but I managed to figure it out after my first internship, because I understood what my role could be within a company.
in France, and was able to work on a collection of old movies from the 30s on DVD. After the internship, I applied exclusively to movie and videogame companies. I did another internship in the movie division of Disney France, and I was hooked.
How familiar were you with Ubisoft before your internship?
I’ve always played games; I was a huge Nintendo nerd. I’ve played Ocarina of Time at least 15 times by now. I wanted to work for a videogame company because it’s a form of art that has always interested me, but I think I’m a better fit working on TV shows based on the games, rather than the games themselves.
What’s your favorite part of your job?
TB: I love overseeing the creation of the key art for a project – the one image that has to sum it all up to someone who doesn’t know the shows yet. How do you represent that in an image?” My favorite project from last year was working with a creative agency on our poster for our animated cyber mystery series inspired by the Watch Dogs franchise. On the poster, you have these two worlds mirroring each other: her real world, and underneath, the digital world. It’s very vibrant, and I love what the agency came up with.
I love working with graphic designers and concept artists. I write the brief with directions, and when the creative person on the other end just gets it and gives you a real visual translation of what you had in mind, it’s truly rewarding.
Is there a gender disparity at the Paris Film & Television studio?
TB: Here at UFT Paris, we have an internal production studio of between 30 and 100 people, depending on the projects, and many of the artists and animators here are men, but I think it’s gotten better since in the time that I’ve been here. I’ve been visiting art schools as a representative of Ubisoft during final reviews of student’s films, and I’ve seen that the next generation already looks much more diverse. We gone on recruitment trips to nearby film school, and about half the directors there were women.
Why does it excite you?
TB: Ubisoft put together a diversity manifesto about two years ago, and it was very inspiring to me, because I’ve always thought that the healthiest way to bring about inspiration and innovation is through diversity. When you have different people with diverse backgrounds, you have more original ideas. We’re trying to have more diverse creative leads on our projects and in our content. In our TV shows, we’re working on representing diverse characters. I haven’t seen a character like her in a kids’ show yet, and I’m so happy we’re bringing her to the world and showing a female character that is tech-savvy.
How can companies elevate the voices of underrepresented people?
TB: When it comes to entertainment companies, I think there’s an imperative, as content producers, to have more diverse figures in the content itself. I think Netflix does it really well; they are offering a level of freedom to so many people who haven’t had a platform before. I think it’s crucial for making a society and a company more inclusive.
One of my favorite shows, which I think does such a good job with representation, is Steven Universe. It’s saying, “It’s OK to be who you are, to love who you want; you are not in a box.” I think the show does it in such a subtle and beautiful way.
Feb 21, 2020 at 19:06