The Directors: Alex Sworik

Alexander Sworik is a director based out of Toronto, Canada. Motivated by his relentless pursuit of uncovering and narrating distinctive and influential stories, Alex fearlessly immerses himself in every directing endeavour. Alex has earned numerous accolades, including multiple Vimeo Staff Picks and was a finalist for the Sony future filmmaker awards.

Name: Alex Sworik

Location: Toronto

Repped by/in: Dear Friend (Canada)

Awards: Sony future filmmaker awards - finalist 

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Alex> For me, the stand-out element is human connection. We are constantly bombarded with content, and I think it’s integral to be able to make the audience feel something. You can make something beautiful visually and hit people over the head with a high-energy edit, but if they don’t feel anything, they aren’t going to remember it after that moment. I am always most excited when I feel off the hop some real human emotion in the script.

LBB> How do you approach creating a treatment for a spot?

Alex> My process usually starts with putting on a curated playlist to bring me into the mood, which could be any genre. I am an avid photo book collector, so my next step is to start going through some photos and see what inspires me. Sometimes inspiration comes instantly, but sometimes I need to take a break, go for a walk, and comeback. Eventually something clicks, and I can enter a flow state where everything starts to come together. 

LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

Alex> It’s very important for me to familiarise myself with the brand I am shooting for. I feel like I would be doing a disservice to the agency, client, and audience if I didn't. Sometimes it’s honestly more fun when I don’t know much about the brand, because I get to dive into a wormhole and immerse myself in this new world. That’s honestly one of my favourite things to do, even if it isn’t for work.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Alex> For me, the most important part is to establish a genuine bond as quickly as possible. I think the best things happen when you are collaborating with friends, so before everything gets going, I want to feel a personal connection.

LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?

Alex> Going back to one of my earlier answers about human connection, I would say I am most passionate about real people and real stories. Even going into narrative work, my favourite genre is biopic because to me, nothing beats a real story; you can’t make it up, and there is something about it that if told right can really tug on people’s heart strings the way a fictionalised concept can’t. 

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Alex> I often get 'Your work is dark or moody,' but I would argue that it’s natural and authentic. I’m drawn even in photography to the shaping and use of natural light which always tends to be a bit darker. I think it mimics reality, whereas bright and poppy is a unrealistic to me and gives off a vibe of feeling fabricated. People don’t want to be tricked, and I think if your image looks too unrealistic then you are losing that human connection again.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Alex> Recently, I actually had a shoot where our main talent got covid the day before we were meant to film for three days. On top of it all, we were already on a tight timeline with our post-production schedule. Naturally, we had to delay the shoot two weeks, which left us less than a week for post. It required me to completely reshape the project and approach to satisfy client and agency, since there would be no time in post for our usual revision period. Ultimately, it was great, because it required me to be more intentional than ever and in the end it really worked out.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Alex> I’ve learned to really remember and be grateful that the client and agency are the reason I am able to be working on the project in the first place. Having that mentality helps a lot. I will fight for what I think is right in the story, but I always come back to the fact that those key people are the reason we are all here. In doing so, I think it eliminates a lot of frustration and allows for a better end product.

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?

Alex> I think it’s incredible and much needed. Everyone has a unique voice and story to tell, so giving as many people the opportunity to do that is crucial. Also yes! I am very open to mentoring and apprenticeships.

LBB> How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time? 

Alex> Things slowed down during the pandemic, and I think pre-pandemic I was doing everything I could get my hands on. The pandemic naturally stopped that, and one thing I love now is intentionally taking on less work and investing myself fully into every project. In the end, I am enjoying the craft more, and it creates a better final piece.

LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)? 

Alex> Each format has their purpose, and I am all for it, but for me my focus is story. I try not to obsess too much about the different deliverables and put my attention into the project as a whole. I am always confident my DP and the rest of the team is also aware of the deliverables and we are framing in ways that fit the format. But again, story is king. Formats will come and go.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)? 

Alex> I’m 50/50 on it all. I have so many ideas for virtual production, and I think there is so many incredible new things that can be done with it, and I have been trying to get as much experience as possible with it. I know everyone is semi worried about AI, but I think it could actually unleash more creative bandwidth, so I am all for it.

LBB> Which pieces of work do you feel really show off what you do best – and why?

Alex> This documentary I recently shot for Movember. I have been trying to do as many projects on film as possible because with how fast-paced life has become, I think it has a beautiful effect on the whole production and slows the process down, making it more intentional, and forces me to be very focused on what I want as takes are limited. It’s a good challenge!

Seawolf is the project I am most proud of mostly because it keeps gaining momentum and Mike and K’odi’s story is being shared with more people. It also took a lot of trust building to get Mike to a point where he felt comfortable allowing me to tell his story. I didn’t take that lightly and am grateful to this day for the experience and opportunity to tell it.

SFA - This project I think really showcases my high-energy commercial side. I came up with unique angles that really draw the viewers in in a short time, which I think has them begging for more at the end.