Camera Obscura: Pabz Alexander

Pabz Alexander is a multi-disciplinary, self-taught director, with a background in audio production and music.

Along with his brother, Michael, Pabz founded production house electriclime°, which has seen success through their offices in Singapore, Sydney, and Dubai.

Originally from Scotland and with a Persian background, his textural and experimental work finds new ways of exploring human nature, and seeks to blur the lines between narrative and documentary.

LBB> What is your niche craft obsession?

My niche craft obsession revolves around the world of filmmaking and working at various locations across the globe. As a filmmaker, I am deeply passionate about the art of storytelling through the lens, and I have developed a particular focus on capturing the essence and beauty of different locations. I strive to weave together captivating narratives with the rich tapestry of global landscapes, cultures, and people, creating a visual symphony that immerses viewers in unforgettable cinematic journeys.

Working in the film industry has allowed me to explore the intricate details of each location and transform them into visually compelling backdrops for storytelling. Whether it's capturing the bustling streets of Tokyo, the rugged landscapes of Iceland, or the historical charm of Rome, I find immense joy in immersing myself in diverse cultures and environments to bring stories to life.

LBB> Where, when, and how did you first come across this kind of filmmaking? 

I started out as a musician touring around the UK and Europe during my teenage years. I knew I loved the travel factor of touring as soon as we started going around playing gigs in different cities and countries. I get inspired by the unique identities of the people, the location and the energy. From a technical point of view, depending on the location of the shoot, will determine the type of equipment I use to best capture the beauty of the location. Whether it is a huge format paired with an anamorphic vintage lens or a run-and-gun shot on 8mm film, this is what excites me during the pre-production stage.

LBB> Was it an obsession straight away or something that has evolved over the years?

I think it was an obsession straight away, I loved the freedom and independence that comes along with it when you get out onto the open road. My love for on-location filmmaking has definitely evolved through the years as I always try to find more untouched and beautiful locations. I find that in the search of these locations, they present unique and new human stories to tell.

LBB> What are the most interesting debates or conversations you are having around this obsession?

I think that there is always going to be a debate of shooting on location versus shooting in a studio. I understand both sides of the coin but I personally would always opt to shoot on location. Shooting in a studio is a more controlled environment where you are able to tweak lighting, sound, camera movement and talent performances to almost perfection. 

However, shooting on location feels more organic and brings an authentic style to the frames you capture. Working with elements, I find that I am able to think on my feet more, trying to be in the moment, translating that into the film and I feel that this is conveyed to the audience as they watch my films. Embracing that moment or that shot that might never happen again rather than perfecting or forcing a shot in a studio.

LBB> How widespread do you think this obsession is with your peers?

Very! I think most filmmakers are adventurous in some way, as unique locations also present original stories and characters. Working at various locations around the world fuels my creativity and allows me to collaborate with diverse teams, learn from different perspectives, and bring together the best elements of each location to create captivating cinematic experiences. It's not just about capturing beautiful images; it's about capturing the essence and soul of a place and translating it onto the silver screen.

LBB> Can you share any examples of work where this obsession really came to the fore and elevated the final production?

Through my craft, I strive to not only showcase the physical attributes of each location but also capture the unique atmosphere, local traditions, and the spirit of the people who inhabit those places. It requires a deep understanding of the visual language, cinematography techniques, and the ability to adapt to the nuances of each location.

Two pieces in particular are Sony and Parker Pens. The former was partly shot in Mongolia, with the location providing the perfect landscape to tell the wild story.

The second was shot on a train in Sri Lanka, which heightened the storytelling and provided an exciting journey for the characters to be on.

LBB> For anyone just getting into your field, what advice would you share to help them get their head around this kind of filmmaking?

By honing my skills in this niche craft, you can create cinematic experiences that transport audiences to different parts of the world, allowing them to connect with the characters and narratives on a deeper level. It's a constant exploration and learning process, where I seek inspiration from different cultures, landscapes, and architectural wonders to enhance the visual storytelling. So my advice is to just get out there and start shooting, and you will discover your confidence in your artistry and as a human in general you’ll grow.