The Work That Made Me: Lizzy Born
Lizzy Born has always loved filmmaking, but decided to major in something more stable: jazz guitar. She fell backward into directing anyway.
Her DIY filmmaking background was built on friendships with comedians, actors, and other filmmakers. Her experience directing talent, paired with a cinematic and experimental aesthetic, has won her many collaborations in the advertising and fashion world, including projects with Vogue, Grey Goose, Dolce & Gabbana, Macy’s, Lexus, and the NYC Ballet.
Her award-winning short films have premiered at Sundance, SXSW, and Cannes, among many other festivals. She wrote and directed several popular short-form series and films, produced by Comedy Central, Bridesmaids director Paul Feig and Snapchat. In 2021, she directed the entire first season of the celebrity-spattered Showtime variety show Ziwe, produced by A24.
On the side, Lizzy Born may begin selling her limestone sculptures or create her own line of beautiful yet impractical shoes, but for now, she directs character-driven, refined, and emotive films.
The ad/music video from my childhood that stays with me…
Lizzy> Probably Jonathon Glazer’s Jamiroquai video. It was a technical feat at the time and still is. It’s a sort of magic trick when the motion of the background in a frame takes precedence over camera movement. It requires a deep understanding of composition, Kurasawa style. It feels funny to write this, but perhaps this video heralded a burgeoning sense of spatial awareness for me. And the hat? C’mon, what more do you need?
The ad/music video/game/web platform that made me want to get into the industry…
Lizzy> I enjoy making ads and videos, but movies made me want to get into the industry (like most of us, I imagine). Early on, Peter Bogdanovich’s “Paper Moon” blew my mind wide open – particularly Madeline Kahn’s monologue when Addie won’t get back in the car. I love the inherent conflict of protagonist Addie, who is a child, completely lacking authority, with a morally bankrupt father calling the shots. The scene has a three-act structure in itself, succinctly told. I often revisit it to remind myself that illustrating a character’s flaws is the spiritual tentpole of our connection to them. Believe it or not, this concept informs so much of comedic writing and directing.
The creative work (film/album/game/ad/album/book/poem etc) that I keep revisiting…
Lizzy> Every few years, I rewatch Punch Drunk Love and find something new that I love about it. A truck moving in the background of the frame after the first date. Barry punching out the bathroom stall. Phillip Seymour Hoffman, in general. I’m drawn to films with repressed protagonists (note to self). Watching them let loose in the end is simply joyful. I know, I know, everybody loves Paul Thomas Anderson, but hey – for good reason.
My first professional project…
Lizzy> This Dolce & Gabbana “Miss Sicily” commercial was my first “professional” gig. There were more people on set than I knew what to do with, and we shot it on location in Sicily. It felt like a dream, and I guess it kind of looks like a dream, too (shot by Kevin Phillips). I was incredibly lucky to kick off my ad career in an extremely luxurious situation. Not gonna lie, it set the bar pretty high - and I’ve been chasing that dragon ever since. The experience certainly opened my eyes to what’s possible in commercials. I think of it as a petri dish practice round for directing a studio film; commanding a big set with bigger toys and a tent full of financiers. Your ability to communicate and negotiate with them is another aspect of the artistry.
The piece of work (ad/music video/ platform…) that made me so angry that I vowed to never make anything like *that*…
Lizzy> I try not to get too worked up over these things. That said, when I watch any sort of filmmaking, I’m cognizant of the motivation behind when and how to move the camera, and the psychological effects of lensing. It is a tightrope walk - and the aim, for me, is to control the perspective with intention. That might sound simple, but there are so many possibilities within it that inform a viewer’s emotional response, or lack thereof. These are choices that I pay attention to.
The piece of work (ad/music video/ platform…) that still makes me jealous…
Lizzy> Chris Cunningham’s “Flora by Gucci” is, of course, the natural answer to this question. It is genius in its conceptual simplicity. It is pure, emotive brilliance. Many have tried (and failed) to reference it. It is a singular work.
The creative project that changed my career…
Lizzy> Hip Hip Hooray is a narrative short I made in 2015. It was accepted to a bunch of festivals and even won an award - which made me feel pretty special. The warm reception gave me the confidence to keep making my own work… despite the financial implications.
The work that I’m proudest of…
Lizzy> I’m proudest of this spot I made for NYC Ballet. It’s a short documentary that was screened at the company’s Fall Fashion Gala in 2019 at Lincoln Center. Every year, NYC Ballet invites fashion designers to collaborate with choreographers in creating new productions for the stage, and this film documents the process. The abstract studio work with the dancers and designers is some of the best of my career. Capturing Phantom footage at the steps of the Met is a memory I will cherish. Truly a dream job.
I was involved in this and it makes me cringe…
Lizzy> It’s all pretty cringe when you think about it.
The recent project I was involved in that excited me the most…
Lizzy> This Maybelline spot which stars Mindy Kaling and Jury Duty’s David Brown (if you haven’t watched that show yet, I highly recommend doing so). The spot is a nice blend of scripted comedy and beauty imagery, which is sort of my wheelhouse. It was a departure for the brand conceptually, and I’m thrilled they trusted me with it.
