Filmmaker / Photographer Aleksandra Kingo

An Ode to Procrastination  encapsulates relatable creative struggles. How vital is procrastination as a creative? Should we see it as a necessary “evil” allowing the space for our minds to wonder?

I am gonna be honest, I wrote An Ode To Procrastination while procrastinating trying to write another movie. And the process of creating Ode was a way of becoming friends with procrastination rather than conquering it. Most of the things Sarah talks about are a bunch of self-soothing white lies – being slightly delusional helps her get through her day while actually she is quite terrified that perhaps she is not good enough or that she won’t be able to finish. I think the idea of overthinking the creative process, being equally terrified of your art being not good enough or, vice versa being overwhelmed by the loss of potential is valid for most creatives. Procrastination is a response to that as it often stems from fear. I managed to perceive it as part of the process by now but it is important to recognise it and not push it away otherwise you will never stop taking those naps or cleaning the whole house instead of cracking on. 

You started off as a photographer then moved into the world of film. Can you tell us about this transition? What led you to make the move? What challenges did you face and how did you overcome them?

My transition from stills to filmmaking was in the first place quite accidental. It was in a way driven by the social media’s demand for moving content – so in addition to shooting stills photos for a brand I would do stop frame animation, then I would hire a cinematographer to create some live action gifs or short social media clips for different brands. Fast forward and I have a full blown commercial showreel and found myself directing major brand commercials in Los Angeles all while not having any personal moving image work in my portfolio. And this is why making of Ode was so important for me because it was the first film that was purely mine, something without any client and with the end result not being signed off by anybody but me. 

The biggest challenge for me was to expand my visual language in a way that is still true to my vision. Because of course for stills you mostly think in 2D and for film there are so many more elements to think about, so much opportunity which can be slightly overwhelming. And the key to overcoming that was to collaborate with people that are more experienced in this, seeking advice, asking questions, learning and staying humble about it. It is a fine balance for a director who does need to remain the leader at all times. For example when working on Ode I collaborated with cinematographer Matthew J Smith and it was a beautiful energy all the way through – he would challenge me and make me push my creativity further, but doing so in a way that is respectful and caring. It was brilliant.

Whether photography or film, your work is very recognisable. How would you define your aesthetic and how do you manage to stay true to it (in light of potential client’s requests, for example)?

Existential pop art? I love choosing themes that are slightly uncomfortable or perhaps darker and wrapping them into a colourful comedic wrapping. Humour is a universal language that allows me to speak about serious things in an accessible, lighthearted way. Staying true to me is important – of course it can get slightly watered down with purely commercial projects but I always manage to keep at least some of the elements of it, whether it’s the overall themes and aesthetic or perhaps just a couple of Easter eggs I hide in the visuals. 

Tell us the production design behind An Ode to Procrastination. Who did you work with and how did you share your vision?

Amy Friend is a very talented production designer and an absolute babe – I have known her for almost ten years and we met when we were both baby creatives. Having worked and grown together for so long we know exactly what visual language to work on when creating together. So working on Ode was a blast – the hardest thing was with finding the right location that felt art directed and stylised, but at the same time real and relatable. The house we landed on was this art deco house in South London – my location scout Luke found it when working on a Marilyn Monroe movie. A lot of the elements we loved were already there such as 70s wooden finishes, the art deco lighting fixtures and that awesome, awesome bathroom. So the main challenge was to add colour and wit – so you see bright textiles all the way through and fun propping that adds character and wit to each scene. 

What are you working on next? 

Working on Ode was very, very rewarding. Beyond making peace with procrastination, it made me trust my gut more and allowed me to believe in myself I guess? So beyond a bunch of commercial projects (I am writing this on a plane to Cape Town!) I am working on two more short films that I am due to film this year. Stay tuned. 

P.S. Here’s our pick of Aleksandra’s photography

INFO:

Aleksandra Kingo website

Interview by Niccolo Montanari