Freja Majlund Westh’s ‘Cinematic Journey: From London to Copenhagen and ongoing…”
-By Geeta Gerardo Vij
On a crisp, sun-kissed afternoon beside the harbour, just outside the vintage 1930s boat terminal building, nestled within the Soho House Copenhagen, Denmark, I find myself in the delightful company of Freja Majlund Westh. Freja, a young, charismatic filmmaker, a wordsmith, and a dedicated mother. Behind Freja’s warm smile, unassuming demeanour, and casual grace lies a tenacious and resilient woman who has gracefully woven life’s lessons into her creative narrative. In this interview, we explore the unique path of a rising filmmaker, originally hailing from London and now a proud resident of Copenhagen. Her story unfolds Freja’s journey began with a chance café meeting that catapulted her into the world of cinema. From collaborating with BBC documentarian Bruce Perry to creating impactful short films, her story exemplifies determination and creative vision. Join us as we delve into Freja’s experiences, challenges, and the role of formal education in shaping her film career as a director.
1. How did you end up in films:
I grew up in London, where my father was a photographer, and my mother worked in the fashion industry. I developed an appreciation for aesthetics through my father’s work and various projects, ranging from terrace painting to assisting on a film about American strippers and my mothers critical eye for detail within her work and not settling for anything less than what you want.
I pursued a director’s degree at the University of the Arts London at the London College of Communication. After completing my education, a chance meeting at a café changed my career path. Overhearing a conversation about a Netflix-bound film project, I introduced myself as an eager film school student and secured a role in the production. To my surprise, they found my enthusiasm intriguing and agreed to keep in touch. About a month later, I received an email that altered the trajectory of my career. It read, “Can you start tomorrow?” Without hesitation, I enthusiastically accepted the offer. This marked my first step into the industry, working with BBC documentarian Bruce Parry on the film ‘Tawai,’ exploring indigenous cultures and climate change’s impact. I was involved in various aspects, from organizing events to being involved with the distribution process, and the experience was truly remarkable.
Subsequently, I relocated to Copenhagen, my home country, although I had spent very little time there since early childhood. Initially, it was challenging to navigate the industry and connect with professionals. However, my fortunes changed when I had the opportunity to work alongside esteemed director Jan Gleje on a project for Adidas in Paris and Copenhagen. This experience opened doors and provided valuable contacts within the industry.
Through this project, I caught the attention of another producer, leading to further opportunities and my integration into the film industry. I pursued a director’s course.
2. What were your responsibilities?
At the outset, I began as a production assistant, involved in various aspects of film production, from logistics to the nitty-gritty tasks required on set.
Working in an advertising agency, I was exposed to a wide range of projects, from grand-scale videos to music videos, bridging the gap between art and commerce. This environment housed a diverse mix of individuals, some with strong business acumen and others with a more creative approach.
My time there felt like an open forum, where I had the privilege of interacting with industry veterans. While initially daunting as a newcomer, it was a remarkable opportunity to gain insights into the company’s operations and proactively seek out areas where I could contribute.
I learned the importance of being proactive and staying informed about ongoing projects. It’s not just about fulfilling your designated role; it’s about being open to other opportunities and expressing your eagerness to be involved.
One defining experience was working closely with another commercial director on his personal projects. This immersive experience provided hands-on instruction and allowed me to embrace the fast-paced, no-frills production style with minimal equipment, making for an unforgettable learning journey.
3. How did it go? – Can you really make a good film like this?
It went really well. Yes, I think so. It really requires three skilled people. A skilled cameraman, director and editor.
We produced a beautiful film that served as a heartfelt ode to youth. Our shooting location was a lime pit in Greve, Denmark, which that year had been dubbed Denmark’s Mediterranean summer spot due to its crystal-clear blue waters, courtesy of the lime deposits. The pit had become a magnet for young people who gathered for parties and all sorts of fun and mischief. We encountered some remarkable individuals, including a 14-year-old girl who arrived on her own motorcycle, proving to be truly inspiring. This experience taught us how to effectively capture their essence on screen, improvising without the usual equipment like tripods and c-stands, and working with what was available.
4. You have a background in advertising and also made your own short films. can you tell more about them?
Yes, I have a few years of experience in advertising. I’ve directed successful commercials for DR, and found that commercial projects, being completely different in nature, allow for very different growth spurts as you are under an immense time pressure, and therefore a completely different set of challenges for your vision.
As a director, I’m deeply fascinated by people and aesthetics. My talented DOP, Selma Kaag Levysohn, and I meticulously planned our project with detailed storyboards, shot by shot, capturing expressions, lines, and everything in between.
I’m very hands-on in the process, focusing on framing and ensuring the vision comes to life. The atmosphere on set is crucial.
I’m also a writer, and ‘Blue’ was born out of an idea during the COVID-19 pandemic. It took about six months to write, and I quickly gathered a team. Working in the industry for a while, I had connections that helped me secure resources, but it’s a ‘go-getter’ job. I had to take the initiative and seek support from AVS Nordic rental, who kindly provided equipment for free. Despite having a straightforward location, it still required extensive preplanning, taking about 4-6 months.
I made ‘Blue,’ a beautiful and intense love story, with specific settings in an apartment. It’s an exciting project, and we’ve just completed it.
5. Was the film in Danish or English?
The film was intentionally in English due to my background growing up in London. It’s my cultural language, and I wanted the message to reach a wider audience. Starting out, I believe it’s important to be open in this regard.
6. Do you edit your own films? – or how involved are you in the editing process?
I am deeply involved in the editing process. It’s a challenging endeavour, and I worked with an editor who had a more commercial background. For this project, it was beneficial as there’s a strong artistic undertone. I could provide my input and then hand it over to her. We engaged in a productive dialogue where she brought her perspective to the table, making it a collaborative effort that pushed both our creative boundaries.
She was accustomed to more direct, commercial editing, while this film had a cinematic and slower pace. Once we established this dialogue and understanding, the process became more efficient. We both worked on it in parallel, even during evenings and weekends, to bring the project to fruition.
7. What has happened to your film since?
TThe film was completed a week ago, and we’re planning a premiere in a raw, art exhibition-style venue. I’ve also discussed showcasing it in a London gallery. We will then push it to festivals and of course on GoCreator.
We’re already in pre-production for our next short film, ‘The Cut’ (Working Title), which will be filmed in a month. It’s a faster-paced film compared to ‘Blue,’ which is more of a time capsule and plays with a slower temperament.
8. Tell us about your role as an assistant instructor before you made your own short film. How did you get that job and what were your responsibilities?
As for my role as an assistant director, I worked on the TV series ‘Awkward.’ I got the job after having worked on the first season as the cast manager, to another season as script supervisor and finally taking on the AD role. This role provided invaluable experience and connections, ultimately leading to further opportunities in the same production house. It’s all interwoven in a fascinating web of experiences and connections.
9. Was film school worth it for you and how much can you use of it today?
The theoretical part of my education was interesting, but what I find most valuable today is the practical experience. Right from day one, I had the opportunity to choose my career path, and for me it wasn’t a question. I wanted to direct. We worked in different teams, which allowed me to challenge my ability of working in various circumstances.
In our final year, we had to pitch a project we had written. Out of 50 projects, six were chosen, including mine. It was a tremendous learning process. Unfortunately, my producer faced stress-related challenges, which led to her withdrawal from the project just two days before filming.
I invested GBP 27,000 in my education, and I have mixed feelings about it. While it provided time for self-discovery and finding my voice, there were moments when I felt I already knew some of the content and could have benefited more from practical industry experience. However, in England, there’s a strong emphasis on formal education in the field, and it’s often seen as the necessary route to establish a career. Some aspects of my education were excellent, while others felt less relevant to my journey.