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Warren Fu

Warren Fu is an music video , , and designer renowned for his visually striking short-form content, including collaborations with artists such as , , , and . Born in to Taiwanese parents and raised in , Fu initially pursued a degree in economics at the , before entering the film industry through an internship at Lucasfilm's (ILM). Fu's early career focused on visual effects artistry, where he served as an art director on high-profile projects including the Star Wars prequel trilogy (Episode I – The Phantom Menace, Episode II – Attack of the Clones, and Episode III – Revenge of the Sith), Star Trek (2009), A.I. Artificial Intelligence (2001), and Minority Report (2002). Transitioning to directing around 2009, he relocated to Los Angeles and secured his first music video gig by pitching a concept to The Strokes via their label, RCA Records, marking the start of a prolific output in the genre. His distinctive style—often blending retro aesthetics, narrative storytelling, and innovative design—has earned him acclaim, including contributions to the visual campaign for Daft Punk's Grammy-winning album Random Access Memories (featuring "Get Lucky"), a Clio Award for Dua Lipa's "Levitating," and a 2021 MTV Video Music Award nomination for Video of the Year for Doja Cat and SZA's "Kiss Me More." Beyond music videos, Fu has directed commercials for brands like Adidas, Samsung, Spotify, and a Playstation campaign featuring Travis Scott, while maintaining his roots in illustration and design. His portfolio also includes recent works such as Billy Joel's AI-assisted "Turn the Lights Back On" (2024) and Megan Thee Stallion's "Neva Play" (2024), solidifying his status as a versatile creative force in entertainment. Now based in Los Angeles, Fu continues to push boundaries in visual media, drawing from his diverse influences in hip-hop culture, piano training, and blockbuster filmmaking.

Early life and education

Childhood and family background

Warren Fu was born in , , to Taiwanese immigrant parents. His family relocated to during his early childhood, where he was raised in the suburb of Diamond Bar. This move immersed him in a new cultural and environmental landscape, shaping his formative years away from the urban setting of his birth. From a young age, Fu displayed a strong inclination toward artistic expression, influenced by familial encouragement. His mother played a pivotal role in nurturing his creativity, teaching him to draw characters like and noting his keen eye for detail when he pointed out elements in storybooks. By age five, he was actively engaged in drawing, filling elementary school notebooks with sketches of Star Wars spaceships, mechs, and sports cars, which reflected an early fascination with visual narratives and design. He also began lessons at age 7, developing an understanding of that later informed his visual work in music videos. In fourth grade, Fu took classes under instructor Ester Taylor, who introduced him to techniques like and , further honing his skills in visual storytelling. During his teenage years, Fu's artistic interests expanded into street culture, particularly through as a personal hobby. Growing up in the area, he experimented with aerosol , drawn to its competitive "" dynamic that pushed him to refine his original concepts and styles. This hands-on pursuit, alongside his foundational habits, laid the groundwork for his later professional path in , bridging personal creativity with a burgeoning interest in and .

Academic pursuits

Warren Fu attended Diamond Bar High School in Diamond Bar, California, graduating in 1993. During his high school years, he continued exploring artistic pursuits such as , building on childhood hobbies that included drawing characters like and envisioning scenes from films like Star Wars. Following high school, Fu enrolled at the , where he majored in with a minor in and completed his degree in the late . Despite his longstanding artistic interests, he chose as a practical academic path, providing a stable foundation that allowed him to later transition into creative fields like design and . This decision reflected a balance between his creative inclinations and the need for a versatile skill set in an uncertain job market. During his final semester at , Fu applied for an internship at 's on a friend's encouragement, marking an early step toward his in .

Career beginnings

Work at Lucasfilm

Warren Fu began his professional in the film industry with an internship at (), the division of , based in , during his final semester at the , in the late . Despite his academic background in , Fu secured the position by submitting personal drawings, which led to his progression from intern tasks like model-making and graphics work to responsibilities on major feature films. His training provided an analytical foundation that complemented his creative pursuits in visual design. During his time at ILM, which lasted about five years in his early roles before extending to further projects, Fu made significant contributions to the *, including Episode I: The Phantom Menace (1999), particularly Episode II: Attack of the Clones (2002) and Episode III: Revenge of the Sith (2005), where he developed that helped shape key visual elements. His most notable work was the initial design for , the cyborg Kaleesh warlord, envisioning a more humanoid form that evolved through collaboration with other artists into the character's final robotic appearance. These designs were integral to the trilogy's , emphasizing Fu's ability to blend organic and mechanical aesthetics in a team environment. He also contributed to other high-profile ILM projects of the era, including (2001) and (2002) as an art director on , the film series, where he conceptualized skeletal creatures, and (2009), for which he developed the iconic beaming effect. Through these experiences, he honed skills in cinematic , digital design, and collaborative production, learning to translate directors' visions into practical and innovative concepts under tight deadlines. This period at ILM served as practical training equivalent to , fostering his expertise in miniature set shooting and production workflows.

Initial forays into music videos

After several years as an art director at , where he contributed to for films like Star Wars: Episode III - Revenge of the Sith, Warren Fu departed the company around the mid-2000s to pursue a directing career in . Leaving behind a stable position in the film industry, Fu relocated without established connections, driven by a desire to explore more personal creative outlets in and short-form storytelling. His background in and concept design from provided foundational skills that later informed his production techniques, though he began essentially from scratch in the competitive music scene. Fu's entry into music video directing came through persistent pitching; he sent a speculative treatment to RCA Records, leading to his debut project, an alternate version of The Strokes' "You Only Live Once" in 2007. Produced for free as a favor to the band, this video marked his introduction to the indie rock scene and showcased early elements of his distinctive aesthetic, blending neon graphics, spaceships, and 1980s sci-fi influences in a retro-futuristic style. The collaboration with The Strokes, including frontman Julian Casablancas, built a lasting relationship and helped Fu gain initial momentum, despite the lack of financial compensation. Building on this foothold, Fu directed his first paid music videos in 2010 for , including "Bang Bang Bang" featuring Q-Tip and , followed by "The Bike Song." These projects solidified his retro-futuristic approach, mixing industrial grit with playful, era-blending visuals that evoked and vintage futurism, while establishing him within broader and circles. However, directing posed significant hurdles: Fu often worked on shoestring budgets, such as $1,000 productions where priorities like and crew meals stretched limited resources, and he navigated the industry through self-taught networking, emphasizing thorough artist research to avoid mismatched pitches.

Directing career

Breakthrough collaborations

Fu's entry into music video directing began with his debut collaboration on The Strokes' "You Only Live Once" in 2007, an alternate video that established his signature retro-futuristic aesthetic through neon graphics, spaceships, and 1980s sci-fi influences, while incorporating a narrative homage to 2001: A Space Odyssey as a protest against war, hunger, and consumerism.) This project, drawing from his background in visual effects at Lucasfilm, marked a pivotal shift from indie rock foundations to more ambitious visual storytelling, blending experimental elements with conceptual depth. In 2010, Fu signed with Partizan Entertainment, a move that significantly expanded his access to higher budgets and prominent artists, enabling genre diversification into pop and electronic music. His first videos under this representation included Mark Ronson's "Bang Bang Bang," featuring Q-Tip and , which depicted a vibrant, otherworldly discotheque on with bold colors and dynamic choreography, showcasing Fu's ability to fuse narrative playfulness with stylistic flair. This collaboration, alongside Ronson's "The Bike Song" and ' "Hands," highlighted Fu's growing versatility in pop visuals, moving beyond to incorporate upbeat, surreal environments that amplified the tracks' energetic vibes. The partnership with Daft Punk in 2011 on "Derezzed" for the Tron: Legacy soundtrack proved a major breakthrough, integrating Fu into the duo's creative team and elevating his profile through high-impact, tech-infused visuals tied to the film's digital universe. This electronic project, featuring clips of the movie's action and 's cameo, expanded Fu's reach into cinematic soundtracks and experimental electronic genres, setting the stage for ongoing collaborations. Building on this momentum, Fu's 2012 work with on "Miss Atomic Bomb" and "Runaways" further diversified his portfolio into mainstream rock, blending live-action narrative with animation in the former—a companion to their earlier hit "Mr. Brightside"—to explore a through stylistic homages to and retro aesthetics. These videos, with their narrative-driven storytelling and visual experimentation, underscored Fu's rising influence, attracting larger productions and cross-genre opportunities by the early 2010s.

Major projects in the 2010s

In the , Warren Fu established himself as one of the most sought-after music video directors, helming over 20 projects that blended retro aesthetics with innovative storytelling, often drawing on his background in and to create visually distinctive narratives. His work during this decade solidified his reputation for polished, cinematic visuals that evoked nostalgia while pushing technical boundaries, collaborating with high-profile artists across genres from electronic to pop and . A standout project was his direction of Daft Punk's "Instant Crush" featuring in 2013, which combined live-action footage with intricate stop-motion animation to depict a surreal romance involving melting masks and dreamlike sequences, produced by Daft Arts. The video's hybrid style highlighted Fu's ability to merge practical effects with animated elements, earning praise for its emotional depth and visual poetry. Similarly, Fu directed Daft Punk's "Get Lucky" featuring and that same year, capturing Pharrell's charismatic performance in a shimmering sequined jacket against minimalist sets, emphasizing rhythmic energy and 1970s-inspired glamour through fluid and lighting. Fu's collaboration with Pharrell Williams extended to the 2015 video for Snoop Dogg's "California Roll," also featuring Stevie Wonder, where he crafted a narrative blending 1940s Hollywood cinema tropes with futuristic Los Angeles imagery, including a faux film screening that unfolds into performance segments with the artists. The clip's layered storytelling and vibrant production design underscored Fu's knack for narrative-driven videos that incorporated live performances seamlessly. In 2016, he directed The Weeknd's "I Feel It Coming" featuring Daft Punk, employing smooth, ethereal cinematography with cosmic and mythological motifs—such as the Weeknd transforming into stone amid a hazy, VHS-like filter—to evoke a sense of otherworldly romance, shot in a single day on a Los Angeles soundstage. Among his other notable 2010s contributions, Fu directed Depeche Mode's "Soothe My Soul" in 2013, a voyeuristic piece with an intimate, that captured the band's brooding performance in a dimly lit, confessional setting. His videos for artists like ("Runaways," 2012) and ("Under Cover of Darkness," 2011) further exemplified his retro-inspired visuals, often featuring dynamic band performances and illustrative flair that evolved his style toward more experimental hybrids by mid-decade.

Recent works in the 2020s

In the 2020s, Warren Fu continued to expand his directing portfolio with that blended innovative visual storytelling with contemporary pop and aesthetics, often leveraging advanced digital techniques to enhance narrative depth and visual spectacle. His collaborations during this period reflected a post-pandemic shift toward more introspective and technologically integrated productions, working with a diverse array of artists across genres. Fu's videos from this era maintained his signature retro-futuristic style while adapting to streaming-era demands for immersive, shareable content. One of Fu's standout projects was the 2021 music video for and 's "," which he directed in collaboration with the artists to create a vibrant, playful sci-fi narrative. The clip depicts an crash-landing on an alien planet, where and embody seductive extraterrestrial characters amid colorful, sensual graphics and trippy visuals inspired by retro video games and cosmic exploration. This aesthetic not only amplified the song's flirtatious energy but also marked Fu's embrace of digital effects to craft otherworldly environments, earning praise for its bold, immersive world-building. Fu's 2022 video for ' "That's Where I Am" co-directed with Rogers and Michael Scanlon, emphasized emotional depth through a minimalist yet evocative portrayal of personal introspection. Filmed in locations tied to Rogers' album , the video features Rogers navigating urban solitude and fleeting connections, culminating in a surreal encounter that underscores themes of self-discovery and vulnerability. The piece highlights Fu's ability to use subtle and ambient visuals to convey raw sentiment, resonating with the track's meditative tone and Rogers' post-pandemic reflections on isolation and renewal. In 2024, Fu co-directed 's "Neva Play" featuring of , alongside Carl Jones, infusing the video with high-energy digital effects that merged live-action performance with sequences. The pinball-themed narrative showcases in neon-lit, dynamic chases through a gamified urban landscape, transitioning into animated realms that amplify the song's assertive bravado and collaborative synergy. This project exemplified Fu's adaptation to modern trends like hybrid and cross-cultural artist pairings, creating a visually explosive commentary on resilience and playfulness in visuals. That same year, Fu partnered with on Billy Joel's "Turn the Lights Back On," Joel's first original single in decades, utilizing pioneering technology from Deep Voodoo to depict the artist morphing across his career eras—from 1970s rockstar to 1980s icon. The video's innovative effects allow Joel to perform in a timeless piano-bar setting, symbolizing reflection and comeback, while maintaining an authentic emotional core. This work underscored Fu's post-pandemic experimentation with digital tools to bridge generational divides and revive legacy artists through cutting-edge visuals. In 2025, Fu directed the music video for King Princess's "RIP KP," the lead single from the album Girl Violence, portraying a surreal narrative of queer strip club purgatory with themes of debauchery and self-reflection, blending live-action with fantastical elements to match the track's alt-pop energy. Throughout these projects, Fu incorporated advanced digital effects—such as AI-driven transformations and anime integrations—while fostering diverse collaborations with emerging and established talents, adapting his established visual techniques to the evolving landscape of music video production in a streaming-dominated, tech-savvy era.

Other contributions

Commercials and advertising

Warren Fu has been represented by Partizan Entertainment for commercial directing since April 2010, enabling him to helm projects for major global brands worldwide. This partnership has facilitated his expansion into short-form advertising, where he applies a visually dynamic approach to create engaging brand narratives within tight constraints. Fu's notable campaigns include work for , , , Coach, Reebok, and , often adapting techniques from his music video background—such as stylized visuals and rhythmic editing—to fit 30-60 second formats. High-profile examples feature the launch film, which placed in a surreal desert landscape to showcase the console's immersive capabilities, and a "Today's Top Hits" spot emphasizing musical discovery through vibrant, fast-paced sequences. Additional campaigns, like the collaboration with and an partnership tied to the , blend humor, pop culture references, and seamless product integration to drive brand engagement. Over his career, Fu has directed dozens of commercials, contributing significantly to his multidisciplinary portfolio that spans directing, , and . These projects highlight his ability to craft compelling stories that align brand objectives with creative storytelling.

Film design and illustrations

Beyond his early experience at , Warren Fu has continued to contribute to film through for major sci-fi productions. For the 2009 film , Fu served as a concept artist, helping to visualize key elements of the rebooted franchise's aesthetic. Fu's illustration work extends to album covers and promotional art, particularly in the music industry. He provided the distinctive handwritten typography for Daft Punk's 2013 album Random Access Memories, which became a signature visual element of the release. Additionally, Fu created limited-edition archival ink portrait paintings of Daft Punk, hand-numbered and signed, released in 2016 as collectible prints priced at $140 each. For The Strokes, Fu designed promotional artwork for singles including "Threat of Joy," "Under Cover of Darkness," and "You Only Live Once," featuring retro-futuristic graphics that complemented the band's aesthetic. In 2023, he released a holiday collection drawing from his archives, incorporating illustrations for The Strokes alongside Daft Punk, Phoenix, and The Killers. In 2025, Fu created new tour artwork for artists including Justice and Tame Impala, as well as for Kaytranada's fall co-headlining tour with Justice. Fu has also engaged in personal art projects and exhibitions, blending hand-drawn and digital techniques. His work "The Strokes Logos" was featured in the 2019 exhibition Meet Me in the Bathroom: The Art Show at in , a tribute to the 2000s NYC scene that included over 70 pieces by musicians and artists, running through September 22. This piece highlighted his illustrative style in capturing band identities through custom logo designs. In short films and visual albums, Fu has taken on designer roles to shape overall visual narratives without directing. He contributed logos, visuals, and stage designs for various music projects, including conceptual elements for Daft Punk's promotional campaigns that extended into visual album-like experiences. These efforts underscore his versatility in merging filmic design principles with static and promotional media.

Artistic style and impact

Visual techniques and aesthetics

Warren Fu's directing style is characterized by a signature retro-futuristic aesthetic that merges nostalgic elements from the with contemporary (), creating a distinctive seen across his music videos. This approach often evokes sci-fi influences through graphics, spaceships, and analog textures, blended seamlessly with modern digital effects to produce a sense of temporal dislocation. For instance, in ' "You Only Live Once," Fu employs retro-futuristic motifs like glowing interfaces and futuristic vehicles to amplify the song's energetic vibe. Central to Fu's are vibrant color palettes, dynamic , and the integration of that enhances emotional depth without overwhelming the . He favors bold, contrasting hues—ranging from nostalgic warms to aggressive cools—to underscore thematic shifts, such as balancing and , while employing fluid, high-volume camera movements (up to 90 shots per day) for rhythmic pacing. is incorporated fluidly, often through motion-capture or surreal overlays, to blend live-action with fantastical elements, drawing on his background in . This technique is evident in works like Daft Punk's "," where animated sequences inspired by classic tales add a layer of bittersweet . Fu's narrative structures frequently interweave performance footage with surreal , using linear timelines or single-take sequences to mirror the song's emotional arc, as in Electric Light Orchestra's "When I Was a Boy," which unfolds in slow-motion to evoke life's progression. Technically, he combines practical effects—such as in-camera lighting, miniature sets, and —with digital enhancements, a method honed during his time at (ILM), where he learned to prioritize clear, cinematic over excessive visual effects. This hybrid approach ensures immersive worlds that feel tangible yet otherworldly, maintaining a balance between analog authenticity and digital innovation.

Influences and critical reception

Warren Fu's artistic influences draw heavily from science fiction cinema, graffiti culture, and innovative music video directors. His early fascination with sci-fi films, particularly Star Wars, began in childhood when he filled notebooks with drawings inspired by the franchise and other works like Robotech, shaping his approach to world-building and visual storytelling. Fu has cited Blade Runner and 2001: A Space Odyssey as key inspirations for their atmospheric depth and philosophical undertones, which informed his retro-futurist aesthetics in later projects. Additionally, his high school experimentation with graffiti art sparked a rebellious creativity that distinguished his portfolio during his internship application at Lucasfilm, emphasizing original, street-level expression over conventional design. Fu has also expressed admiration for directors like Michel Gondry, whose whimsical, hands-on techniques in music videos influenced his own blend of narrative and visual experimentation. Fu's work has received widespread critical acclaim for its innovative visuals, particularly in videos like Daft Punk's "," which reimagines Hans Christian Andersen's through a poignant, animated tale of longing and transformation. Industry outlets have praised the video's emotional resonance and meticulous craftsmanship, highlighting Fu's ability to elevate pop tracks with layered, evocative imagery. His contributions to projects like The 1975's "" have been noted for their aggressive, slick style, blending nü-metal edges with rapid-fire editing to capture contemporary angst. Fu is recognized in the industry as a premier director for pop and electronic artists, having collaborated extensively with acts like , , and , where his videos amplify their sonic worlds through tailored visuals. Interviews reveal his collaborative process as one of mutual trust, often granting artists creative freedom while adapting to their visions, as seen in his work with on "Derezzed," which built on his background for seamless analogue-digital integration. Fu's style has evolved from indie roots to mainstream prominence, beginning with raw, adaptive projects for bands like and progressing to polished, high-profile campaigns for global stars, a trajectory chronicled in profiles that underscore his shift toward bolder narratives and technological experimentation. This progression, from aesthetics to cinematic design, reflects his foundational ILM experience and ongoing embrace of tools like animation. In recent works, such as the 2024 video "Turn the Lights Back On," Fu has incorporated AI-assisted techniques.

Awards and nominations

Music video accolades

Warren Fu has received several nominations and awards for his music video direction, particularly from prestigious ceremonies recognizing visual storytelling in music. His work often garners acclaim for innovative aesthetics and seamless integration with the artists' visions, earning recognition from bodies like the (VMAs) and the UK Music Video Awards (UKMVAs). Fu contributed to the visual campaign for Daft Punk's , which won the Grammy Award for in 2014. For Dua Lipa's "Levitating" (featuring ), Fu's direction earned a Bronze Clio Music Award in the Film Craft: Animation category in 2022. For the 2021 music video "" by featuring , Fu earned a nomination for Video of the Year at the , highlighting the video's playful, space-themed narrative that blended live-action with surreal elements. The project also won a Music Award in 2022, underscoring its impact in the music visual space. In 2019, Fu's direction of The 1975's "" secured a win for Best Dance Video - UK at the UK Music Video Awards, praised for its vibrant, choreographed sequences depicting a whimsical day in the life of the band. Fu's contributions to Daft Punk's posthumously released "Infinity Repeating (2013 Demo)" featuring + in 2023 led to multiple honors, including a win for Best Animation in a Video at the 2023 UK Music Video Awards, where his character design and direction were central to the retro-futuristic style. The video was nominated for the SXSW Award in the Music Video in 2024 and received a Webby Award in the category in 2024, affirming its technical and artistic excellence.

Advertising and design honors

Warren Fu served as a jury member for the 2025 Clio Music Awards, a role that underscores his recognized expertise in visual storytelling for advertising and -related projects. In 2025, Fu directed the campaign "Learn Korean or Else," a promotional spot tied to Netflix's that earned a at the Lions International Festival of Creativity in the Social & Creator category for Sponsorship & Brand Partnership. The campaign's innovative blend of humor and cultural tie-in highlighted Fu's ability to create engaging that drives global audience interaction. Fu's design contributions, including illustrations for album packaging and promotional materials, have been featured in industry publications such as Communication Arts, reflecting his multidisciplinary impact in visual design tied to commercial and entertainment projects. His affiliation with Partizan Entertainment, where he is based as a , further positions him as a key figure in visuals, with extending his influence across branded campaigns for major clients like , , and .

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