Jorn Haagen Brings Pursuit of Honesty to Sequoia Content
Toronto-based production company Sequoia Content has made an important new signing, with internationally-acclaimed director Jorn Haagen joining the roster. A move which furthers his desire to create work with a sense of honesty, develop his signature, and continue working in Canada – a market which he has developed a strong affinity for – it’ll be worth keeping an eye on how this evolves over the coming months, as he collaborates with his new team for the first time.
Of course, LBB readers may already be familiar with both Jorn and his work. He’s been in the Canadian market for over a decade after all, and in that time, he’s established a reputation. Artistic approach aside, notably, he’s known for his love of serving as DoP and director on his projects and ‘street-casting’, as well as his ever-present desire to create films that allow an ‘architectural approach’. However, for the now Sequoia talent, everything he does contributes to a distinct, meticulous and memorable approach to the craft – something which he’s excited to evolve further.
To learn more about that, check in, and find out what’s brought him to his new home, LBB’s Jordan Won Neufeldt sat down with Jorn for a discussion.
LBB> Jorn, congratulations on signing with Sequoia! How did this come about, and what made joining the team feel like the right decision for your career, at this point in time?
Jorn> Thank you! There is no doubt I have been on the lookout for a new Canadian home for a while now. Canada is incredibly important for me as a market, not just creatively, but because it’s one of those places where you feel naturally at home. Whether that has to do with my Scandinavian background, or if it’s just personal preference, who knows? But, as with all things in life, directing comes down to communication – an ability to communicate and take that to a place where it becomes meaningful, rather than just words. That’s a big reason why I made my choice.
Another factor in why I feel so comfortable with the gang at Sequoia is signature. Everything has to do with it, and what it comes down to is the fact that only you can be you, so it’s important to be you as honestly and authentically as you can. Here, there is this understanding that I don’t have to promote certain perceptions – I can just come out and say what’s on my mind. This honesty drives everything, not just the directors, but the producers, production managers, assistants, everyone. So, Sequoia, here I come.
LBB> You’ve previously expressed a desire to create films that allow you an ‘architectural approach’. Is this still the defining factor behind the types of projects you’re hoping to pitch for?
Jorn> To me, what an architectural approach means is that ideas are everything. We can think, we can reinvent the wheel a billion times, and we can convince ourselves of it, but when it comes to a strong, clear idea – whether it is a story, a visual look or feel, the construction of a shot, or the sound of something – if everything follows that simple line, it’s like music. Everything has to play together to support the overhanging notion of what you want to convey, and what you want to say.
This is why directing is the most fascinating line of work you could possibly be in. Because it’s endlessly complicated. But, I find that good directing, most of the time, is about being able to simplify things. Clean it so the work finds its simplistic core value, and communicates what you want it to.
LBB> Equally so, is serving as DoP on your projects while directing something you plan to continue at Sequoia?
Jorn> I started lighting because I always had an idea in my head of what I wanted the work to look like. Much like understanding editing, or the way we use music and sound, the physicality of lighting plays a big part in helping everything come together, and I realised that by learning it, I could become more efficient in simplifying the things I wanted to say.
Does that mean I don’t work with other DoPs or cameramen? Absolutely not. I try to be as collaborative as I humanly can – the same way I hope to be a supporting partner for any agency, art department, or production. But, again, it’s all about the simple idea (ideally one that doesn’t remind you of a million other things you’ve seen before). So, if I feel that there is a need for a very clear, strong voice, I will get involved. At this point, it’s part of who I am.
From my perspective, the reason why I’ve been able to take on the DoP role in combination with directing has to do with being able to cultivate real partnerships while understanding how it all works. The same way a director needs a personal, genuine relationship with the art department, agency, and production, I need the same thing on set. So, again, it comes down to the idea of honesty – you just have to be good at bringing it to the table.
LBB> With that in mind, how would you say your style has evolved over the past few years? Is the pursuit of honesty a driving factor here as well?
Jorn> Totally. Less bullshit, all honesty – that’s what everybody needs.
You can ask an actor if he can skydive and ride a monkey at the same time, and most will say yes – and they should say yes – because it’s a natural consequence of acting. If the scene calls for it, you should be able to do it. That same kind of thinking is often seen in directors. Can we direct any style? Most directors will say yes… but we know it’s not true. That’s what makes us so goddamn arrogant – both actors and directors – because we somehow think we can.
So, at this point in my life, with the things I’ve gone through, yes, I’m more hungry and interested in honesty now than I’ve ever been.
LBB> Of course, you’ve some to Sequoia at a time when, technologically, the industry is in a state of flux. As such, are there any tools you’re particularly excited by at the moment?
Jorn> There’s a lot of fear associated with AI. People feel threatened. You hear them saying the film industry is in trouble. But, the industry has been in trouble many times, and things have always changed – right now, maybe more rapidly than ever before. But you know what? Calculators didn’t make students more stupid.
Why was there a wave of analogue versus digital? Why was it so much cooler to shoot on film than digital? It was because film came with a ‘look’. It simplified all the crazy choices we would otherwise make. It was connected to a reality we had built, and therefore, simply choosing film gave each project atmosphere and weight. You got a look you could rely on, and that removed a bunch of other decisions. It made things easier.
AI is going to give us the same kind of situation. Sure, we’ll have trigger words that generate things in a certain way, but these are concepts we could only dream of before. It allows us to do things that weren’t ever possible. We need to embrace it; love it.
LBB> Finally, overall, what are you most excited for in the production world of 2025? Is AI the big ticket item for you?
Jorn> Absolutely, not only for the aforementioned reasons, but because of my love of honesty. I think AI is going to promote a desire for something more truthful and genuine – something you can smell, breathe in, feel, and practically touch.
This pursuit has been something that has permeated my work for a long time. And now, it’s come to a boiling point. With AI, people are asking, ‘What is human honesty like?’. We’ve been struggling with acting and pretending, and suddenly AI is promoting something in a believable sense. It won’t take long before we see and understand the limitations better.
Who knows? Maybe all of this will push advertising and filmmaking to become more perspective-specific. By that I mean, ‘Will we get a type of filmmaking that feels more personal and is more personal?’. Right now, everyone’s focusing on how stunning we can make everything. But that’s going to lose its charm very quickly. I’m more curious about – and excited for – what this will do for the expression of absolute truth. Something that is very, to its core, genuine. That’s why I think AI is interesting, and is why I’m excited to see where it leads.
