From Ukraine to Canada: Sergii Shevtsov’s Story
Originally from Kyiv, Ukraine, Sergii Shevtsov is a film director and scriptwriter with a passion for natural and sincere performances and storytelling.
Coming from a background in agency work - having spent eight years as first a copywriter and then a creative group head - Sergii is always ready to involve himself in a script’s fine-tuning, and seeks to find the non-obvious interpretation in his treatment. In particular, he likes fresh, unusual stories, and loves to share his emotional experience through short video formats - presenting even the simplest of stories in fresh and catchy ways.
Having moved to Vancouver, Canada following the outbreak of the war, this past year, Sergii re-located to Toronto, where he joined Radke Film Group and now works as one of its directors.
LBB’s Josh Neufeldt sat down with Sergii, to chat about his story, and how he’s finding life in Canada.
LBB> What kind of kid were you, what were your passions and hobbies, and when did you get your first inkling that a career in this industry was for you?
Sergii> Growing up in the ‘90s in post-Soviet Ukraine, I was fascinated by imaginary worlds and went to the library to discover new ones once or twice a week. In fact, my library checkout card was actually a bunch of cards bonded together! Books interested me much more than TV and movies, so as a kid, I did not think my life would be connected to directing.
My father worked two jobs, my mother worked three, and they instilled in me a work ethic I still draw on today. My parents also taught me to always stand up for the weak, but didn't teach me how to fight, so if you were to see me as a child, I’d probably be carrying a stack of books and sporting a black eye.
I hadn’t thought about commercial directing until I participated in other directors’ brainstorms and realised how carefully elaborated this process was. It was like classic advertising or stand-up comedy brainstorming, only the toolkit was wider. We were generating visual ideas, frame sizes, camera movements, character archetypes, actor emotions, cuts, and jokes for treatments. I saw a development - a part of a director’s job that is usually hidden - and fell in love with it.
LBB> Sergii, before you became a director, you were a copywriter. What inspired the switch, and how does this experience lend itself to the work you do today?
Sergii> As an agency creative, I was super into production. I loved casting, briefing directors, and following them around on set. I also directed voiceovers and attended colour gradings, and in general, I found every aspect rewarding and inspiring. So, with my skills and understanding of how scripts worked growing, and the realisation that I wanted to have more responsibility for projects, directing felt like a very logical progression in my career.
As a creative, I honed my storytelling skills not only with solid advertising ideas, but also with what could be accomplished in the format (60-second, 30-second, etc.). This experience gave me a level of confidence as a commercial director right out the gate, and I’m grateful to have had such an organic transition between disciplines.
LBB> You also note that you’re a scriptwriter. How does this skillset compliment your directorial approach, and does your experience as a director influence the way you visualise a script?
Sergii> I'd say that my directorial approach is influenced by the fact that I am an ad guy who loves cinema and admires commercial directors from around the world. Even when I conceived scripts on the agency side, it was through that cinematic lens.
When I wrote scripts for other directors, I focused on the story and tried not to play the role of the director. I only described a frame size or a camera movement if it was crucial for the story. I think this is an important part of collaboration - leaving room for interpretations that may be surprising and elevate the work.
When I write scripts that I will direct, I first think about the pace and rhythm. I count it in my head while imagining the scene from a wide shot. When I feel the tempo rhythm is correct and everything appears at the very right moment, I start looking for the best compositions. I imagine the scene from the points of view of every character, then from the POVs of the objects they interact with, then the high angles and low angles… until I’m sure it’s the best way to tell the story, and it’s postmodern enough. Only after that do I actually write it down.
LBB> You recently came to Canada, from Ukraine. Tell us about this transition! Why Canada, and what has your experience been like thus far?
Sergii> From the beginning of the war, Canada was among the leaders in helping my country. I, like other Ukrainians, am very, very grateful for this.
Moving was quite a difficult and a long story for me, but I realised Canada was a good place to find some balance, relaunch my career, and help Ukraine win with my creative skills and donations. So, despite the fact that Canada seemed very far away, coming here just felt like the right decision.
In terms of marketing, Canada is a brand associated with good values such as open-mindedness, mutual respect, and collaboration. I’ve lived here for five months now, and see it every day. I can say I’ve found a new home in Toronto.
LBB> As a whole, how has your filmmaking experience here compared to the work you did back in Ukraine? Is the approach different in any way?
Sergii> Everything is, surprisingly, very similar. In Eastern Europe, on the Arabian Peninsula, and in Canada, even the bag of chips is the same on a client's playback table.
Kyiv, the capital of Ukraine, was a city with a huge amount of filming. Before the war, a lot of service work for Europe and North America was filmed there. Creatives from around the world have videos from Apple, Virgin, and Amazon, that were shot in Kyiv in their 'likes' on Vimeo. My experience shows that the processes in our industry are quite unified.
LBB> While you originally started in Vancouver, you’re now with Radke in Toronto. What made this the right studio to join, and how have your first few months with them been?
Sergii> In Vancouver and Toronto, I met a lot of great studios that make great staff-pick level works, but I really wanted to meet Radke, because of its reputation and talented roster.
When we met, their vision of my professional development resonated powerfully. Of course, in a new country, I wanted to feel a strong team behind my back. It was a rational factor, but my decision was emotional as well - they are very sweet people.
I can also say, secretly, that we've already done a project together, and that Radke used all its resources to bring everything described in the treatment to life. It means a lot to me.
LBB> As a whole, what are you hoping to achieve with your work? What makes work meaningful to you?
Sergii> I’m always chasing good ideas. I’m interested in working with the industry’s strongest creatives and bravest clients. Smart ideas and bold execution are what motivate me, and are at the core of my career goals.
Meaning in the work comes in a few forms. I love the people in our industry. We all strive to make the best work possible, and I feed off that energy. In terms of the work itself, making an impact is what I enjoy the most, whether it’s an emotional impact, or a piece that is so entertaining, it impresses even the most cynical viewer.
LBB> What are some of your most significant pieces of work, and what do they mean to you?
Sergii> This is a video for the Kazakhstan mobile operator, izi, that I shot last summer. In fact, a few years ago, I was one of two people who developed this brand. We kinda gave the brand our personalities, so after these years, I still feel a connection with it.
I loved this insightful and chill idea. We had a great collaboration with the creative team, production company, and service production house.
And the other is a video for the Hockey Federation of Ukraine. This is my personal proof that when all unite to do a cool project, such a trifle as a small budget (extremely low by Canadian standards) cannot stand in the way.
We had two well-practised teams, both in the frame and behind the frame. We shot everything in one shift - 16 hours - with two cameras. There was no budget for a composer, so I also wrote the music myself. And I love this voice! This person wanted to remain incognito and sent us only two takes. All we knew was that he was a rapper.
LBB> What have been some of the most useful lessons you’ve learned in your time as a director?
Sergii> I will always consider myself a student of film and advertising, and continuing to learn is part of my DNA. But, having travelled a lot over the past year and having met many people from our industry, today, more than ever in my life, I feel like a part of a huge creative community where people around the world share the same mindset and values and support each other. Therefore, the main lesson I learned is not on the director's, but on the human level.
LBB> Do you have any exciting upcoming projects for 2023 you can tell us about?
Sergii> I am looking forward to seeing our project with the creative agency Rethink. It should be released very soon! It’s a fun, fast-paced 15-second spot that we had a great time making. We had a great collaboration, and I would be happy to do it again.
