Fri, 12 Feb 2021 14:44:47 GMT
Evan Ari Kelman is a New York City filmmaker with a passion for creating emotionally powerful experiences for audiences. His New York University thesis narrative, BANDITO, held its World Premiere at Tribeca Film Festival in 2015 and was awarded with the 2015 Wasserman Award for Best Directing from NYU.
Kelman returned to Tribeca in 2016 with ONE GOOD PITCH, which he co-wrote and produced. In the summer of 2016, Kelman produced the narrative short, HOMING IN, which screened at the British Film Institute. Kelman's first feature film script, WITH THESE EYES, was awarded a 2016 Alfred P. Sloan Foundation Writing Award. His latest short film WHERE THERE'S SMOKE held its World Premiere at Tribeca Film Festival 2017, marking a third consecutive return as a writer/producer, and second as a director. WHERE THERE'S SMOKE won the Grand Jury Award for Best Short Film (Live Action) at the Edmonton International Film Festival, and qualified for the 2019 Academy Awards. Kelman’s latest feature screenplay, BARRON’S COVE, was announced as a semi-finalist for the Academy’s prestigious Nicholl Fellowships for Screenwriting.
As a freelancer, Kelman has directed content for a multitude of brands including Foot Locker, Converse, Uber, Chevrolet, Gillette, GSK and Coppertone. His award winning commercial, 'The Push' for Foot Locker, aired nationally on ABC and ESPN2. His multi-spot commercial campaign for Biotene won a 2020 Gold Telly Award.
Name: Evan Kelman
Location: New York, NY
Repped by/in: Recalcati Multimedia
Awards: 2020 Gold Telly Award, 2020 Nichol's Fellowship Semifinalist, Winner Best Live Action Short Film for Where There's Smoke at the Edmonton International Film Festival
Conflict, high stakes, realised characters, great pacing. Conflict comes first, and gets me the most excited. My job is to bring it out of the actors, and find ways with the camera and blocking to mine the most of the given conflict.
First, I write a ton of freehand notes and ideas. Soon, a shape begins to take form. I sculpt it, sharpen the edges, begin looking for visual and tonal references to focus the image in my mind. Once I have it, I break it apart into pieces and get as specific as possible in writing.
Having context is important, so I take the time to research the brand, product, market, strategy -- everything I can. But then it's about the emotional effect I want to have on an audience, and that's less about measurable data points and more about atmosphere, story, tone, genre, etc. How do I make someone feel a certain way? What are the moments that have to build to that?
Client, first. We have to be in lockstep with our goals and vision. From there, it's the DP, production designer, and talent.
I love to make comedy, and I also love to create drama. For me, it's about a balance. I've noticed that I definitely have a soft spot for historical pieces -- the costumes and set design are endlessly fun for me.
None come to mind.
Losing a location at the last second. We had to improvise but it turned out even better.
Let's get aligned on the bigger idea, the goal. Then we can collaborate on how to best achieve it. If we're all working towards the same thing, there is nothing to ‘protect’.
Opportunity is the gift of life, and the more people that can share in it the better it is for the world.
Zoom rehearsals and production meetings can actually be very efficient. I don't see that going away.
There's usually one ‘hero’ format we're focusing on. If you try to make something that works in widescreen, plus three other sizes and formats, you tend to lose something in the mix. It gets bland very fast.
Be open, test everything, and find what works for you. At the same time, don't force technology into spaces it doesn't want to go organically.
My love of storytelling is on full display here. The plot, themes, and visual storytelling are a homage to the Hollywood I grew up watching and the style which inspired me to be a filmmaker.
2. Where There's Smoke
This is a true character piece. The camera is a reflection of our main character’s perspective, and all of the movement is built to support that viewpoint. Our cast is incredible here; their performances are honest and moving.
The idea for this spot came to me very instinctually. It reflects my sense of humour in a very honest way. I also love the performances, the way the actors work off one another.
4. Foot Locker
This is a simple commercial, which relies heavily on visual storytelling. Although it’s only a minute, we feel a lingering sense of loyalty, friendship, and honour. The reveal and final beat is heartwarming in a way that I’m proud of. I developed the idea from inception and wrote the copy.view more - The DirectorsRecalcati Multimedia, Fri, 12 Feb 2021 14:44:47 GMT