Allan Ungar on Crafting Cinematic Work That Resonates On A Global Scale
Best known for crafting kinetic, character-driven action films starring the likes of Josh Duhamel, Nicolas Cage and Mel Gibson, Canadian filmmaker Allan Ungar has carved out a space for himself in the high-octane world of Hollywood genre cinema. But after a decade of helming bold, visually rich features - and riding the creative highs and real-world hurdles that come with them - Allan Ungar is setting his sights on a new storytelling frontier: commercial filmmaking.
Having recently joined the Invisible Collective roster, Allan brings his cinematic instincts and narrative precision to the world of branded content. Speaking with LBB’s April Summers, he reflects on the moments that shaped his directorial voice, the allure of telling powerful stories in tight timeframes, and why the commercial world is primed for a new wave of filmmakers who think and shoot like feature directors.
LBB> Where did you learn your craft? Is there a project that stands out as especially memorable or significant for you in your directorial evolution?
Allan> I studied a lot of 'Behind the Scenes' content from early DVDs and documentaries, and I was always watching tons of ‘Making Ofs'. I was extremely fortunate to attend the New York Film Academy for three summers while I was in high school. It was here that I learnt about writing, producing, directing, and acting.
The first professional shorts I got to make were on the Universal Studios backlot where so many iconic sets still stand. However, I think my very first feature film stands out because I was only 22 when I made it, and I had to immediately step up and prove myself by confidently leading a crew of veterans who had been in the business longer than I had been alive.
LBB> Why directing? When did you realise you had a natural affinity for the craft?
Allan> I loved storytelling from a very young age and the concept of visual art always felt like a universal language to me. It didn't matter what you looked like or where you were from, it was a communal language we all understood. I taught myself to write scripts in the fifth grade and started making short films in high school. When I saw people's reactions to the videos I was creating, I knew I was onto something. It wasn't until I landed my first feature, that I truly felt I had both a technical and creative affinity for the craft.
LBB> Looking back at your career so far, which project stands out as especially memorable in your directorial evolution? And why?
Allan> My film, Bandit, is probably the most memorable in terms of me evolving as a director. Everything that could go wrong, went wrong.
We had to take a film set in 1980s Canada and relocate it to Georgia, due to the pandemic, and we went from 32 shooting days to 20. In those 20 days we had to shoot 200 scenes in 96 locations. I was directing three units simultaneously and doing about 60-70 setups a day, on average. I had to problem solve faster than ever before and also step in as a producer to handle a lot of logistics that were not being executed properly.
Over the course of making the film, I lost my father to cancer, and faced a lot of other obstacles in my life. At a certain point I felt that the film was doomed, but it ended up being a huge commercial and critical hit which, ultimately, changed my life.
LBB> The style of a film changes brief by brief, but how would you underpin your general visual style? Are there certain factors that you could pinpoint as a signature for you?
LBB> What is the process of reading a script like for you? How (if at all) does it differ from reading for pleasure?
Allan> I honestly read every script with the same approach. I look at it as both a viewer and an audience member, and I ask myself "Would I watch this movie?" Then, if it's something I want to make, I break down the overall narrative and consider what I would do to give it my own flavour and sense of identity. While that starts at a 10,000ft view, I dig into the minutiae of every scene and look at how I can put my stamp on it.
LBB> Let’s talk about toys! What is your relationship with new technology and how do you incorporate it into your work?
Allan> I love playing with the new toys any chance I get. When we did Bandit, it was my first time using the Sony Venice and, since we had a lot of night exteriors, it was an opportunity to work with the low light capabilities. On SYMPATHY FOR THE DEVIL, a project I produced, we used LED volume technology to shoot three quarters of the film that took place in a car, and happened to be the first feature film in the history of the state of Nevada to use that technology.
We shot custom plates during pre-production and stitched together everything we needed to fit the narrative and all of our sequences in a bespoke manner. The work we did landed in American Cinematographer and was featured in various industry publications.
LBB> What led to your decision to sign with Invisible Collective – why did you want to sign to their roster?
When I had my first meeting with Invisible Collective, I remember feeling there was a sense of family and inclusivity, which I always tell people is one of the most important things for me. If you're going to get in the trenches with any individual or group, you had better hope they not only get along with you, but they have your back. I knew right away that Invisible had the right energy – and their body of work was incredible.
