The Directors: Lan Freedman
Lan Freedman’s work is punctuated with human interplay, nuanced performance, and the authentic blend of comedy and other emotions, resulting in effective and entertaining story arcs.
Originally intending to pursue a career as a therapist, Lan soon realised the elements he enjoyed – connecting with people and understanding human behaviour – could be expressed and experienced in the art of storytelling. He started on the post side of the industry, an experience that continues to inform his work, and then found his ultimate passion in directing.
Name: Lan Freedman
Location: Dallas
Repped by/in: Camp Lucky
Awards: All three colors of Addys and Shoot’s New Directors showcase
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?
Lan> I’m shooting a conversational thought experiment to promote a big literary festival. The idea is to approach and engage strangers in meaningful conversation by asking them to respond to a series of challenging thought prompts. I’ve always been fascinated by how humans engage and share thoughts. The idea of immediately moving past meaningless safe chatter into really seeing someone is an exercise that I think the world could use more of.
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Lan> Comedy is making a huge comeback. Our world is so intense. Laughter bridges gaps and makes people more accessible to one another.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Lan> I get most excited about good comedic dialogue and scripts containing all three acts. A story with a good arc, regardless of length, is not only memorable, but the audience senses and appreciates the effort. Costumes and heavily art directed creative gets me giddy as well.
LBB> How do you approach creating a treatment for a spot?
Lan> I start by printing the agency’s creative and making notes and sketches in the margins. Then, I create a mini beat sheet of the most important moments of the story. From there, I decide how I'd like said moments to play out, and write from that perspective.
LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?
Lan> I like to understand what I’m selling, so if I’m unfamiliar, I’ll see what I can glean from the web before I get on a call, then ask the creative team any remaining questions. They had to learn the product to win the work, so they’re a great resource.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Lan> That’s a tough one because they all matter…but I’d say my rapport with the writers and my DoP are at the top of the list. Once we all agree on what we want thematically, there’s a safety to try things that might otherwise be overlooked.
LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?
Lan> Comedy dialogue with heavily stylised sets, and/or outrageous wardrobe.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Lan> I had a child actor’s Dad pull his infant boy, thirty minutes before call time. Concept was a chubby baby girl being mistaken for a 'future line-backer' boy by a stranger. The parent decided he wasn’t comfortable with his child playing a female. I pulled my two-year-old out of day-care and cast him. Now he’s a theatre major. Oops!
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Lan> I’m a good listener and believe everyone’s thoughts on said idea are valid. I’ve learned over time, that most people, (myself included), if they feel heard, are amenable to different ideas. Additionally, I reiterate the goal of the idea and defend my approach from there. If that doesn’t work, there is always, “We’ll shoot both ways.” :)
LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?
Lan> Not only do I think it’s great, but long overdue. I volunteer with a local group called The Pegasus Media Project that champions cultural diversity in media arts. They empower underrepresented communities through education, career pathways, and collaborative works. I recently shot a project where several members of our crew were recent graduates of that program. Their contribution was essential and felt by all. I fully intend to use them on future shoots.
LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?
Lan> It’s expected now, so I plan for it unless told otherwise. High-res cameras have really simplified shooting in both vertical and horizontal formats, so I typically shoot both formats concurrently and project the blocking for both frames. If the story action does work for both formats, we’ll budget time to shoot it both ways separately.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?
Lan> I’m cautiously optimistic. As long as it helps us tell better stories, I’m all for it.
LBB> Which pieces of your work do you feel show what you do best – and why?
Lan> State Farm 'Costume Party' - This campaign was actually a series of spots set on my favourite holiday – Halloween. Agency creatives were very keen on both costumes choices and dialogue which always helps. And having worked with Kevin Miles, a.k.a. Jake one time before meant we had a rapport that helped us sail through what a daunting overnight schedule.
Cane’s Sweet Ice-T - I’ve done two shoots with Ice-T now, but the first one I wasn’t with him in person. Being able to interact directly was a real game-changer . I could tell he was having fun which allowed us to experiment more than we would have on a remote shoot.
Ted’s 'Pain Cream' - This concept was anchored in truth and so deeply narrative that I loved it immediately. The talent/clients were the actual neuroscientists that created the product. They had a great sense of comedic timing, took direction like seasoned actors, and delivered a product that far exceeded everyone’s expectations.
Howard and Son’s Craft Ice - This piece was a love letter to the ridiculousness of paying for aesthetically pleasing frozen water. We travelled from a small farm in Ft. Worth Texas, to Marfa, and even outer space just to convince people that their Old Fashioned's deserved nothing less than an ultra-purified, crystal clear cube of ice. And it worked! That company’s owner has since quit his day job in software and supports his family of nine solely on the sale of craft ice.
Nature’s Own Keto Breads - I loved this one for its nod to our America’s obsession with avoiding carbs, and its pairing of 2D animation with live action. The script was written as a melodrama, so we were able to take reactions way farther than usual.
