Diplomacy Skills Are Bartek Sawka’s Secret to Successful Productions

Bartek Sawka’s path to production started with a love of still images, which he pursued by becoming a photographer. Attracted by the idea of being a ‘lone wolf’ and having complete creative control, Barek tried his hand at editing too but the isolation made him reconsider whether it was ultimately better to play as part of a team. He worked as a stills photographer before transitioning to production management and, eventually, a producer role that he’s now held for six years. 

The realm of production is giving Bartek an opportunity to oversee the kind of complex projects that he finds the most interesting. An unwavering belief in the essentiality of “broadly defined diplomacy skills”– which for Bartek mean respect, trust building, and negotiation – make him an effective link between clients, agencies, and directors. This, consequently, leads to work that everyone is happy with. Most recently, Bartek produced a series of films for Polish FMCG brand, Pudliszki, part of Kraft Heinz, and the outcome ended up being bigger than anyone expected, a kind of branded universe, thanks to the favourable production conditions created by him and the team.  

Today, LBB chatted to Bartek about his approach to production, why he’s excited about virtual production’s potential to make the impossible happen on tight budgets, and why he’s always in favour of more time for pre-production.

LBB> Bartek, what were you like growing up? Looking back, is it obvious to you that you would end up working in a creative industry?

Bartek> I was broadly in love with ‘images’ from very early on – I even chose a high school at the other end of the city due to its unique ‘film and photography’ specialisation programme. Then for a few years I had two wolves inside me – one dreamed of becoming a director of photography and a social star, and another one wanted to become a film editor and hide alone in a dark room. In the end, as I always was also into photography, I went down that path.

LBB> You started your creative career in the field of photography. What appealed to you about the still image?

Bartek> After editing my first short films for my older friends, which were part of their successful film university admissions, I quickly realised that spending days alone in dark editing rooms is not my story. A career as a DOP, in my eyes, was going to take a very long time and it would be very hard to accomplish success in that field.

Additionally, on that path, you must rely on a big team of people in the process, and I wasn’t ready for it. Finally I chose the photography path – being a lone wolf who’s fully and personally responsible for the process. I had ambition to be the best craftsman on the market – that’s important - craftsman, not an artist. I love photography for many reasons but what’s most important for me is that it allows me to be a one man show – I can be fully independent in my work. 

LBB> How and why did you make the transition into the world of production? Why did you choose production over other possible roles in the industry?

Bartek> After years of working on my own for multiple clients in different setups I was starting to feel professional burnout. I felt the need to find a more permanent team and work environment to focus on more complicated and demanding projects that lasted for more than a few weeks. I think that's when I matured as a team player and as a manager.

As the film industry was always within reach for me, I made the first steps towards the commercial film market. I chose the production path and started out as a production manager because, in my opinion, It’s most fun to oversee big film projects – to see all the strings attached in different places and help every department to efficiently manage the whole process while understanding the big picture.

LBB> You’ve been a producer for six years now. Which skills do you think are essential to succeed in the role?

Bartek> For a producer in the commercial film market, I see broadly defined diplomacy skills as essential – the practice of building and maintaining relationships and conducting negotiations using mutual respect in a very fast changing, endless ‘controlled crisis’ environment.

But maybe first and foremost, an ability to maintain a calm attitude in every situation: showing your partners – client, agency, talent and crew – that you have everything under control. And to actually have it under control.

LBB> And what do you think the producer’s role is all about, behind the scenes and while shooting?

Bartek> The role of a producer from the start of a project is about managing relationships and expectations between key partners. It is crucial that every single decision maker in the process is making the same movie.

Pre-production is the key for setting up this structure and relationship – done well, it should last till the end of the project. In perfect conditions, the producer and especially the production manager should be able to just sit and watch during the shoot.

Of course, in the real world, a perfect storm occasionally occurs and then the production team’s role is to have predicted that and have thought out all the solutions before they were even needed.

LBB> From your experience, what are the ingredients for a successful production and a successful production-client relationship? 

Bartek> For a successful production I would point to just one: trust between key partners. Partners should understand and know their own role in the process. For a successful production client relationship, I would add transparency and expertise to build this trust.

LBB> You previously mentioned that working on the Polish FMCG brand Pudliszki is a particular highlight. How did the initial creative idea evolve from a typical ketchup commercial to what you termed the “Pudliszki Cinematic Universe”? What role did production play in that?

Bartek> From a production perspective, we created the conditions for a situation in which the client and agency had more space and time to work with the director on the scripts. In these circumstances, an experienced director with a grand imagination had built a great understanding with and of the brand. He had highlighted the immanent features of the brand in small details, in the relationship between the heroes and the product. That translated to a successful campaign with good sales results. 

LBB> You’re going to be working more with virtual production thanks to VuFinder. What excites you about virtual production? Have you completed any projects on a VP stage yet?

Barek> For me working in the film industry is all about bringing various imaginary worlds to life. Virtual production is making that far easier, more environmentally sustainable, and less costly. By that I mean VP is more likely to get utilised more often in the face of shrinking budgets. I'm thrilled to start working regularly with VP.

LBB> What’s your favourite part of being a producer? And is there anything that you would change if you could?

Bartek> My favourite part is managing creative processes and these few moments when I have an impact on the creative part of the project while still seeing the big picture and staying on budget in the back of my head.

And my second favourite part are the shoots themselves with all their adrenaline. If I could, I would bring back time for proper pre-production on projects, when it’s now limited to a minimum. Pre-production is king!