The Directors: Allison Swank
Allison Swank is an award winning filmmaker based in Brooklyn, New York, represented by female-run production company ByAssociation. Her work seeks to explore human resilience by creating safe spaces to empower and uplift others. As a filmmaker, she sees vulnerability as a way to transcend fear, share pain, and collectively heal through storytelling.
She has collaborated with Questlove’s music channels OkayAfrica and Okayplayer, working with renowned artists like Erykah Badu, Elvis Costello, A$AP Rocky, and Flying Lotus. Her independent documentary Scum Boy gained her notoriety in METAL Magazine, PAPER, and others, winning "Best Short Documentary" at the IMDB Independent Shorts Awards in LA, and was an official selection for Shorts On Tap, London, Hot Docs, and was invited to screen at AFI Docfest.
Name: Allison Swank
Location: New York / Johannesburg, South Africa
Repped by/in: ByAssociation in the USA, Giant Films in South Africa
Awards: Allison’s 2021 Short Film Scum Boy was awarded a Platinum accolade by the Independent Shorts Awards, and won the LGBTQ+ category at The Academy of Death Racers
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Allison> I love scripts that look at the softer side of people, where I can explore their humanity, their joy, and what makes them smile. Even if they’re “cool” Gen-Z scripts, I like the opportunity to create a stunning and layered visual world, whilst at the same time give the characters some range: they’re cool and they have a warm smile.
LBB> How do you approach creating a treatment for a spot?
Allison> I figure out what makes me qualified to tell the story and find my way in through that door. If the story is about a notion of “connection,” I think about what’s important about “connection” to me. Lately “connection” is imperative to live in the modern world, so maybe that’s an easy one.
LBB> If the script is for a brand that you're not familiar or don’t have a big affinity with, or a market that 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?
Allison> It’s reeeeeeally important to understand the brand, their market, their desired market, their astrological sign, the elementary school they went to, everything! I’m here to help brands solve problems, I need to know as much about them as possible. I get information from probably all the typical routes: the agency brief, google, and social media. I love a deep dive on Instagram. I’ll also be that super cool person in social settings that asks a new friend about their beverage consumption habits.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Allison> This one’s hard because there’s so many important relationships in the creation of the ad! The most important one is the connection to the agency creative and therefore the brand - I need to be on their page to achieve their goals, otherwise what are we all here for?
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?
Allison> I’m very passionate about work that creates awakening, a sense of power, and most importantly a safe sanctuary for the participants and anyone who watches it. I love documentary, or “real life” stories. I also really love working with artists and musicians to share their stories. My current project is about my queer adult volunteer cheerleading team. My work and lifestyle trends intuitively toward a sense of joy.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Allison> I’m really happy to say that I haven’t encountered any misconceptions about my work. The messaging of joy and healing in my work is proudly unmistakable.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Allison> Well this is bringing back some trauma… small helicopter. Wind. Storm rolling in. I blame myself. Takeaways: everyone survived and I need to stop writing heights into my music video treatments.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Allison> For some reason I found this difficult to answer because I can’t explain it. For me it comes down to intuiting where to strike that balance.
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?
Allison> Opening up the production world to a more diverse pool of talent is integral to the success of our industry and to telling stories that matter. I got into directing because others opened the door for me! I insist on mentoring and encouraging new talent, and that’s also a core part of the ByAssociation ethos.
LBB> 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)?
Allison> I actually love the different formats! I view it as multiplying the ways that the work can reach and connect with wider audiences! My work is layered so it suits the various outputs, I’m already thinking of it in 5 different ways - it’s possible to keep everything in mind.
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)?
Allison> ChatGPT is helping me respond to this interview! Just kidding! But I do use AI text and visual for idea starters. Right now I view new technology as a helpful tool. I’m also bracing myself for the day when my direction means that I’m crafting prompts for text to video. I would also be thrilled if real documentary work were left alone though. Like, I don’t want to see an AI generated documentary, mirroring human experience back to me. This next wave is happening, we’ve got to keep rolling with it (this is me talking to myself).
In the middle of responding to this question I got distracted by a story about a new commercial regurgitating existing commercials via AI without payment or credit to the original team. AI is actually very overwhelming if I’m honest. We’re at the precipice of WILD morality games. Actually we may be past the precipice and now we’re tumbling over the edge to our absolute bottom. I’ll always be a filmmaker and storyteller though, that will never change.
LBB> Which pieces of work do you feel really show off what you do best – and why
Allison> Ditch the Vape - this one we cast “real” teenagers and were able to show their true passions in a multi-media, layered way. The kids are gonna be alright.
Scum Boy - this is my first independent documentary and I made it at a time in my career when I had nothing to lose so I really feel like it shows how I create with no restraint.
Stimorol - awww I love this piece. We cast real people from these different Gen-Z scenes in Johannesburg. I got to come up with the creative VFX for the different gum flavors. It was really fun and creative.
Visa Voices of Access - This piece shows how I can connect with anyone when given the chance. I connected with Zoe to tell her entrepreneurial story with her fishmongers. Our shoot was shut down on day two because a crew member tested positive for covid. I had done enough research and prep (and filmed it all) that we managed to turn out a good piece with just one shoot day of footage. I enjoyed the process of getting to know her and I appreciate that she trusted me to tell her story, even in the midst of a chaotic shoot.
