Erik Kockum: “Your Best Work Will Always Start with Ambition”
Some directors like to embrace the lone wolf aesthetic. There’s still a romantic attraction to the idea of a singular creative vision, or relentlessly bulldozing an idea through a film set and onto our screens. But Erik Kockum, co-founder of the collective SNASK and now signed to Dress Code, is not one of those directors.
For Erik, filmmaking is a team sport. Oh, and it’s a lot of fun, too.
“Directing is all about a group dynamic; it’s art, but it’s practicality too,” he tells LBB. “You’re the bridge between two worlds, nurturing the idea whilst also bringing people together to make something that’s bigger than we are as individuals. A film set should be an inspiring place to be.”
With his hyper art-directed, meticulous, witty, and whimsical Scandinavian style, the worlds Erik creates somehow embrace less is more and more is more at the same time. His intensely curated worlds are restrained, but not cold; his work has a human warmth, charm, and sense of humour. Whether it’s a touch of magical realism, composited whimsy, or a small detail that’s slightly charming or odd, Erik’s work lingers in the mind.
"Commercials go so fast, so I want to create a striking and memorable visual world, with a twist, for the brand,” he explains. “Then you don’t need to be as loud and ‘in your face’ with the sales messages. People will still remember the brand visually, and if it puts a smile on your face it's even better. I want to create a positive visual connotation."
It’s for these reasons that household name brands such as Klarna, Spotify, and Target have leveraged his skills as a director, and music industry icons such as The Hives and The Viagra Boys have brought Erik on board to bring their music videos to life. What unites all of these visually distinct and successful projects is Erik’s strong aesthetic vision and sense of wit.
Above: Stills and behind-the-scenes shots from across Erik's work with Klarna. You can watch the ads - and more of Erik's work - here.
“Your best work will always start with ambition. And communicating that ambition - persuading all parties to share in it, own their piece of it, and help elevate it - is what makes for the best possible atmosphere on set,” he says. “People want to feel like they’re part of what’s being made; as opposed to someone who is there to provide a quick service and then be forgotten about.”
That approach, which positions ambition and a larger than life vision as a kind of creative glue, helps explain why Erik gives the impression of a filmmaker who is clearly enjoying himself. “When you’re first making films, almost everything about it is enjoyable. But over time, things can get structural and more machine-like if you aren’t careful. You have to fight against that”, he says. “My answer has always been to try and put myself slightly outside of my comfort zone.” Erik is constantly elevating the work to new levels in order to keep everyone challenged and learning.
Above: A beautifully-composed shot taken from Erik's work with insurance provider Hedvig. You can watch the ad, and more of Erik's work, here.
Digging beyond the surface, however, there’s another fascinating thread which seems to unite much of Erik’s work: Music.
“Music is probably the most driving creative force in my life,” he says. “Whenever I listen to it I can see settings and people with so much clarity in my mind - it takes you to places with astonishing speed. It generates ideas, and a vibe.”
In the world of commercials, Erik explains, music helps him form narratives and develop aesthetic ideas. And, unsurprisingly, with his music videos Erik continues to take risks. As recently as this week, Swedish rock legends The Hives continued their joyous return from hiatus with the release of a new music video in support of Countdown to Shutdown, with Erik in the director’s chair.
Above: A still taken from Erik's recent music video for The Hives' 'Countdown to Shutdown'. You can check out the full, riotous video here.
“You can apply narrative to any song,” explains Erik whilst reflecting on how the video came together. “Once you’ve settled on the vibe and the story, that helps make all the other decisions come together pretty easily.”
The video also stands as another example of a recurring theme in Erik’s work in both advertising and music videos: subtle humour. “It’s okay if people don’t laugh immediately,” he says. “I’m happy if people have a little chuckle on the way home. I think subtle humour has the ability to stay with you for longer. And it makes the audience feel smarter, like they are a part of the story, like they are in a special group.”
It’s hard to articulate, but there is something about the sight of a grizzled corporate manager breaking out of his suit to slam his head to the rhythm of a righteous rock n’ roll anthem that’s inherently funny. It’s difficult to put your finger on it, but it’s a perfect illustration of Erik’s point - that it’s the weirder stuff which tends to stick with us, and Erik’s work is chock full of these details.
In Erik’s case, a laugh’s just another well-earned reward for a director who can’t help but put in maximum effort. Whether it be the subtle humour he inspires from his cast or the carefully-defined and breathtaking aesthetics he crafts whilst on-set, Erik - and SNASK, the collective he co-founded - enjoy a well-earned reputation for creative craft.
As a result, it can only be exciting to think about what’s coming next as part of this new chapter with Dress Code. After all, when you can supply a constant source of ambition, there’s no telling how far a collaborative approach can take you.
