Image credit: © 2024 Alex Glawion
Discover how Alex Glawion’s short film “Patterns” takes viewers on an emotional rollercoaster through a passenger’s train journey. Initially optimistic, the main protagonist’s trip devolves into chaos due to noise and rudeness. Seeking refuge, he dons headphones and escapes into a vibrant, patterned world. There, a lively woman’s playful interaction lifts his spirits. Though reality briefly reclaims its grayness, a heartwarming reunion at the destination renews his appreciation for life’s hidden, colorful moments, brightening his day and positively impacting those who witnessed the exchange.
SIGGRAPH: “Patterns” is a great example of how graphics can be used as a medium for storytelling. The protagonist is traveling in the short film. To start, where is the protagonist commuting? Work, a trip, somewhere else? Does the viewer decide? How does that set the scene?
Alex Glawion (AG): The protagonists meet halfway each weekend, sharing the travel distance to sustain their relationship. Since the film only presents the main protagonist’s perspective, it’s left to the viewer to decide if they also equally share the effort involved in managing the commute and its challenges.
At the core, however, is their mutual support and the recognition that, despite the difficulties, their commitment is unwavering and worth it without any doubt. Understanding each other and knowing what small gestures can help alleviate the strain of often superficial yet aggravating occurrences ultimately bridges the metaphorical distances that arise in challenging times.
SIGGRAPH: What techniques are used to portray the struggle of maintaining a positive mindset amidst grayness in the protagonist’s journey in “Patterns”?
AG: From a technical standpoint, I employed Dutch tilts, abrupt camera movements triggered by sudden sounds, imposing camera angles, vibrating dolly shots, and fish-eye perspectives to amplify the character’s unease within this intimidating environment.
Visually, I aimed to represent his state of mind as a bubble, a sphere around him that he has to uphold — colorful and friendly, yet surreal and painted over when he retreats into his patterned world; dull, gray, encroaching, and oppressive when his senses are overwhelmed and he descends into despair.
SIGGRAPH: What parallels can be drawn between the struggles depicted in “Patterns” and real-life challenges that individuals face in balancing work, travel, interactions, life, and maintaining a positive mindset?
AG: It’s all a matter of perspective. I recall showing the film to a friend who mentioned he identified more with the armrest-slammer than with the main protagonist. Everyone has their own ideas of what is acceptable, tolerable, and what constitutes a perfect environment where they feel at ease.
Whether at work, during travel, or in social interactions, recognizing that one can’t always understand the motivations behind actions that might seem deliberately targeted helps mitigate unnecessary annoyance and maintain a positive outlook. Those motivations might even be positive or unavoidable from another perspective.
For instance, in the film, the armrest-slammer might have had a rough day and simply needs time to recharge without social interaction. The loud-talker could be embarrassed by his volume but speaks up to excite his son. The girl playing games on her phone, oblivious to her surroundings, might be deaf and unaware that others can hear the game sounds; she’s just trying to impress her siblings. And the chips-eater might not be as sensitive as our protagonist, simply enjoying his snack, which eventually leads him to connect with a kindred spirit at the vending machine.
SIGGRAPH: What was your favorite part of creating “Patterns”?
AG: Filmmakers often say they’re never fully satisfied with their films, always noticing areas that could be improved. You can never recapture that first-time experience — the initial moment when your taste and initial reaction can guide necessary changes.
This clarity and the ability to trust your taste and fresh eyes quickly fades as you deep-dive and start working on individual parts of the production pipeline. Experience takes the driver’s seat to guide you, structure and rules are applied, and compromises are made. Even after meticulously crafting the story, rewriting it repeatedly, re-rendering scenes, and perfecting the music and edits, my inner critic unceasingly compares what I’m seeing to what my initial goal was. And what I’m seeing is something I’ve watched a thousand times. It tells me my efforts are futile and that my work doesn’t match my original vision or the standards of a great short film.
But then I share the film with an audience for the first time — my family, my friends — and see their eyes fill with tears, with joy and excitement. It’s screened at festivals, wins awards, and in those moments, everything feels worthwhile. Not just because of external validation, but because I see that initial vision, that atmosphere, and experience I imagined years ago, has made it through to the end.
The joy of knowing my work resonates with people is what I truly love and what drives me to keep making short films. Being part of many audiences, it’s that connection you build with a piece of art or its creator — without ever meeting — that feeling of belonging, of understanding that you share a unique introspection, of capturing a deeper meaning, even if only for a moment. I’m fortunate to experience both sides of that connection.
SIGGRAPH: What do you hope SIGGRAPH 2024 participants take away from watching “Patterns” in the Electronic Theater?
AG: What lies at the core of the narrative: Don’t let that armrest-slammer, chip-cruncher, or loud-talker ruin your perfect day. Each person is the protagonist of their own life’s story. I gain nothing from chewing that nuisance-gum until my jaw hurts and everything from directing my story toward what truly matters.
SIGGRAPH 2024 is approaching! Secure your spot to access the latest in computer graphics and interactive techniques, including our Electronic Theater content. Join us in Denver or online for this incredible opportunity.
Alex Glawion, born 1985 in Germany, is a director, writer and 3D animator based in Frankfurt, Germany. He graduated top of his class from Freiburg’s film school with a degree in Film & Animation and taught 3D Animation & Compositing in 2012. His Diploma Film “The Risk not Taken (2011)” was selected at festivals worldwide, including SIGGRAPH CAF, CINANIMA, Anibar, Motion Festival Cyprus and more. His animated shorts “Armor Man (2020)” and “Color to the Sunset Sky (2021)” garnered awards and selections including Hamburg Kurzfilm Festival, Istanbul Film Awards, Paris Film Festival, BAMkids, Copenhagen Film Festival, Children’s Film Festival Seattle. As a commercial director Alex has worked on projects for international brands including LEGO, Google, and Sharp. He owns Alex Glawion 3D, an independent animation studio based in Frankfurt. While he spends most of his time working on commercial projects that finance his personal shorts, his main career goal is to direct a commissioned, narrative, character-driven animated series or feature.
