We spoke with German artist and director Oliver Latta, known as Extraweg. You might recognize his work from the critically acclaimed Apple TV series Severance — his hauntingly surreal opening title sequence for Season 1 earned him a Grammy, and with a new intro for Season 2 on the horizon, even greater recognition may follow. Oliver is an artist who merges dreamlike emotion with a tension between beauty and chaos, weaving in humor and shaping a visual language entirely his own. That’s likely what caught Ben Stiller’s attention when Extraweg’s thumb-stopping work appeared on his Instagram feed. “I saw this guy on Instagram called Extraweg. He had these weird animations of babies coming out of the brain, turning into jelly, and I thought, ‘This is amazing.’ So I reached out to him. He hadn’t done any opening sequences before, but I felt his vibe was right for the show,” Stiller explained. Oliver thrives on creating digital 3D worlds even as he expands his focus to film direction and storytelling. As a visual artist, we wanted to hear firsthand about his journey navigating AI innovation and his Grammy-winning success. He has exhibited his work internationally and is preparing to release new pieces for collectors, including a product line that offers fans a new, tangible way to engage.

Oliver Latta

Can you tell us a bit about your creative background and education?

I studied Design at the Bauhaus University in Dessau, which gave me a solid foundation in both artistic and technical aspects of creative work. Before that, I earned a degree in physiotherapy, which may seem unrelated but provided me with a unique understanding of human movement and anatomy, elements that continue to influence my approach to 3D art and animation. Over time, I honed my skills in 3D animation and digital art, blending surrealism with hyperrealism. I also worked at Sehsucht in Hamburg, a well-established production studio known for its work in motion design and 3D art. During my time there, I had the opportunity to work on projects for major brands, which helped me refine my skills in both commercial and experimental contexts. This combination of design, movement, and digital exploration has shaped my approach to my work today.

You’re currently based in Berlin: such an iconic city, constantly evolving. What do you love most about living there, and how has the city’s transformation influenced you?

Berlin is an incredibly dynamic city — a place where history intersects with innovation, and traditional art forms coexist with cutting-edge technology. What I love most is the freedom it offers for experimentation and the constant evolution of its creative scene. Berlin’s mix of cultures and its embrace of nonconformity have been instrumental in helping me develop my creative voice. The city encourages me to step out of my comfort zone and try new things, which has allowed me to explore different ways of blending traditional art with modern digital techniques.

© Extraweg 2020

And what about Extraweg Studio? When did it start, and do you work alone, or do you have a team?

Extraweg Studio is my personal creative outlet, allowing me to push boundaries in 3D design and animation. While I mostly work alone and maintain full control over the creative process, I collaborate with freelancers and producers on larger projects. This flexibility allows me to scale the team based on the project’s needs while keeping the core artistic direction deeply personal and experimental. So, while I’m mainly solo, I bring in collaborators as needed to enhance the work.

When I first came across your work, I instantly fell in love with it and also felt a sense of déjà vu, like it was somehow familiar. I’m curious, are there any particular artists, filmmakers, or creatives who have had a significant influence on your style?

My influences come from a broad range of sources, and I draw inspiration from surrealism, abstract art, and everyday life. What shapes my style is a mixture of these influences, along with my exploration of form, texture, and the complexity of human emotions. I focus on experimenting with what feels meaningful in the moment, rather than following a particular artist’s path, which helps me evolve my approach without being confined to a set style.

Much of your work explores the human experience in a unique way. How do you translate internal emotions or psychological states into visual form?

By distorting human forms and using abstract textures, I attempt to capture the essence of complex internal experiences — inner turmoil, tension, or release — without directly illustrating them. These representations are meant to evoke emotions that resonate with the viewer on a personal level, allowing them to connect with the work through their own unique lens.

You also inject a dash of humor into your work. How important do you think that is – what does it add?

Humor is crucial in my work because it makes deeper, more complex themes more accessible. It allows me to balance the intense or surreal aspects of my pieces, making them less overwhelming and more engaging. Humor can create moments of lightness and connection, offering space for introspection while still addressing heavier subject matter. It’s a way to invite the viewer in without alienating them, and it adds a layer of relatability to the work.

There’s a striking atmosphere to your pieces, sometimes surreal, sometimes dystopian. How do you think about the relationship between your art and the world around you?

My work reflects the contradictions I see in the world — where beauty and chaos coexist, and where tranquility and conflict often overlap. I use surreal and dystopian imagery to explore the tension between personal perception and societal realities. My art is a way of making visible the complexities and nuances of the human experience, particularly the emotional and psychological states that often go unspoken or are difficult to articulate. It’s an invitation for the viewer to reflect on these contrasts within their own lives.

As someone working across different creative roles – directing, writing, post-producing – what aspects of the process do you find most rewarding?

I find the most satisfaction in the early stages of the process, where concepts begin to take shape. It’s during this phase that ideas evolve, and I get to experiment with different ways to visually express an emotion or theme. I also enjoy the technical challenges that come with using tools like Houdini, where I can experiment with complex simulations and setups. The ability to control every detail, ensuring the vision is realized exactly as intended, is incredibly fulfilling. For me, the creative and technical aspects are intertwined, making the entire process rewarding.