ANORAK Talks...

with Theo Lindquist

On things like experimental cinema, breaking formats & forward-thinking advertising.

We have a talk with LA-based director Theo Lindquist who pushes boundaries by bringing together the worlds of experimental cinema and commercial.

ANORAK: Theo, your artistic journey has been quite diverse, encompassing commercial photography, creative direction for brands, and even the world's first non-glasses hologram film. Now, you find yourself delving into experimental narrative cinema. How would you describe this particular genre?

Theo: To me, experimental cinema involves exploring innovative ways of visually expressing ideas, and the narrative aspect offers a more classical structure that allows a deeper exploration of concepts, that connect emotionally with the audience. My goal’s always to mine to the core of an idea, create a meaningful narrative, and bring it to life with captivating visuals.

Experimental cinema often works, by most definitions, against conventional mainstream filmmaking - what would you say to those who doubt its viability in the commercial industry?

Personally, I don't see it as working against mainstream filmmaking. Many techniques that are now mainstream were once considered experimental, you know? I think new visual sensations are arresting and stimulate most audiences, in an almost visceral way. It makes us lean in and sticks with us. I believe that forward-thinking brands recognize this potential, and as long as everyone is clear on the brand's intentions, embracing unique and visually engaging approaches only benefits all involved.

Absolutely agree. After taking some time away from the commercial side of things, what do you plan on doing differently upon your return?

Well my commercial background involved a lot of behind-the-scenes work, with talented artists and brands, focusing more on the visual execution, including stills, cinematography creative direction, and live events. After focusing on my own work and evolving as a filmmaker, I’m looking forward to re-entering the commercial space with an enriched perspective and contributing to the process in additive ways that draw on a broader skill set, rather than just the visual execution of references.

So, what’s your process like?

I often collaborate with different writers and I’ve been working full-time with a philosopher, mining ideas wherever possible. Even with a simple brief, searching for the real value adds interest and depth, often inspiring more striking visuals to match.

What examples from your work best describes your approach and what you hope to exemplify?

I guess my recent projects, like the music videos I directed for Lykke Li, showcase this approach. We took a traditional music video brief and pushed the boundaries of format and concept.

We designed the videos to function across various formats, including online socials and live events, with loops as a central theme, which not only served practical purposes but also conveyed Lykke’s key idea of being trapped in unending repetitious cycles of addiction.

I think what was most important was the trust that we had in each other, for the art.

Congratulations on exhibiting this work at prestigious venues like the Barbican and The Broad Museum – I read about the shows and they sounded beautiful, super exciting. Do you see yourself creating more experiential works in the future?

Thank you. I love the crossover and its something I’ve done increasingly more of and find really valuable. As much as I love staring at a screen, there’s something meaningful about experiencing things together in real space that can’t be transferred. So, wherever possible, I aim to incorporate and consider various formats from the start of a project, to avoid weak outcomes in afterthought formats such as social and live. There’s always a balance to be made of course and working this out from the start is something I try to gage and speak to the client about early on in the process.

We’re super excited to see that happen! So what’s to come – what do you have in the works?

I’m currently working on a short film project for White Mirror, with the entire film being created using AI. These new tools are so insanely powerful it’s hard to believe. The process is opening up an entirely new way of working for the team and me, which has filled us with existential dread as well as mind blowing excitement. The project should be completed in a couple of months and is set to launch in Berlin, so keep an eye out for that!