The Directors: Alex Gargot
Experimenting since childhood with illustration, music and animation, Alex Gargot is a fanatic for all things audio visual, and it shows. With a strong narrative style and an inclination for the strange, his work transports us to unique and meticulously executed worlds where VFX manages to go unnoticed.
Alex’s endless curiosity and skilful direction have landed his work on shortlists internationally, with awarded and selected films at Ciclope Berlin, the Latin Grammys, the UKMVAs and 1.4. Awards.
In his commercial work, Alex combines a very expressive visual style with his narrative essence, connecting scenes with ingenious transitions and subtle comedy. Clients he has worked for include eBay, DAZN, Netflix and McDonalds.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Alex> You can tell when the script comes from the creatives’ passion, and that motivation is contagious. I’m a fan of scripts with one clear big idea, and I love trying to find the perfect visual match for that concept. I appreciate it when the product is integrated in such an organic way into the story that it feels natural every time it’s on screen. I confess I enjoy the challenge that sometimes comes with making the story fit within the length limit yet connecting the scenes in witty ways. It’s like trying to solve time puzzles.
LBB> How do you approach creating a treatment for a spot?
Alex> First off, the call with creatives is key. I tend to spend the whole meeting drawing rough sketches. Very similar to how I used to attend any class in my student times. For me, drawing the entire thing into a preliminary storyboard is paramount and I like to do it before writing. Sometimes I do some tests with my phone to try some transitions and check the timing in a rough edit. I keep the workflow very visual throughout the whole process.
LBB> What is your first reason for starting in film and who/ what films/ music videos/directors made you want to start a journey into cinema?
Alex> As a kid, I was obsessed with animating frame-by-frame with a simple program from Disney I had installed on my computer. I would spend a crazy amount of hours drawing directly with the mouse and animating those 2D characters.
I don’t know what the reason for that obsession was, but I know it’s the same thing that makes me want to tell stories today. I never know what to answer regarding my influences, as I feel everything I watch does really impact my vision, even some reality shows I’d be ashamed to confess I watched.
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> I’m naturally driven towards films I can’t label easily. I like to be shocked and even disturbed in front of the big screen. I love it when it’s hard to guess if you’re supposed to laugh. When a really dramatic scene has a subtle hint of awkward comedy, I think there’s something brilliant about it.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Alex> I guess I’ve been doing many vibrant, colourful, and dynamic commercials lately, which I love. However, that's not necessarily true when working on more personal projects such as short films or music videos. I tend to be much more sober in those, where a slower pace and milder colours allow for deeper concepts, which I would also love to explore in forthcoming commercials.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Alex> During my first opportunity directing a second unit for a commercial, the man responsible for the boat we were shooting on had a medical condition. He experienced an episode right as he was giving us access to it. He was shouting in confusion and had forgotten who we were and what we wanted to do with his boat. It was a very awkward situation, to the point where no one knew what to do.
On top of that, the sun was starting to set, and I felt like my opportunity was slipping away, so I started chatting with him and trying to connect with him and calm him down. It worked. We walked to a bar terrace and sat down for a few minutes. The man calmed down and we could shoot the scene. I swear I thought they were all pranking me during my first chance to direct a commercial.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Alex> From the moment we have a first call, I am aware of how open the agency or client is to new ideas and try not to cross the line. I identify which elements are untouchable and which are prone to a spin. Although I feel the duty to protect my vision, when I'm incorporated into the project, I keep in mind the long process the idea has already gone through, and I deeply respect all that work when suggesting tweaks or new takes on the idea.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?
Alex> I began my professional journey experimenting with traditional and digital illustration, 2D animation, and motion graphics, so I feel Photoshop, Premiere, and After Effects are my home. This allows me to anticipate the level of complexity of VFX shots and feel comfortable discussing technical details with the post house.
I keep pace with emerging AI technologies, ranging from image, video, or even music generation. I'm deeply interested in integrating AI techniques across various stages of the process. I am excited to witness their impact not only on my individual work but also on the collective output we produce. I'm particularly enthusiastic about incorporating video-generating AIs for shots previously deemed almost impossible or too expensive to achieve.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Alex> I’d like to answer that the piece that best shows off what I do best is the next one, always the next one. I’m an optimist and very critical about my work. I think the piece I’m the happiest about is the music video for Fuel Fandango, 'Mi Huella'. They gave me carte blanche to tell a story that blended with their beautiful track.
Fuel Fandango 'Mi Huella' - Full creative freedom. I took it to heart and even edited it myself.
Dazn 'Nella vita di un tifoso' - Many scenes and characters to play with, authentic locations in deep Italy
eBay 'Football' - Performance and comedy
'Sarti' - A tad more serious tone, striking casting
Aena 'Andare' - surreal narrative meets music video with irony
